i Ke 
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ay 


eee 


ee 


have been on exhibition at 
American Art Galleries 


- ata loss to the owners.. The high figures pai 


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sale yee eet their sacrifice, 


Bares 1 Tueaoe nt ontecal; ae us 


-attention. Conipetition for the pain ing ae ae 


ing figure the ‘Morning bg 8 of the | 


Home Cities, Represented in th 
. at Chickering Hall Last Nigh 
and Besnards Furnished a 


in London and Montreal and Philade 
‘and other cities besides New York 0 
‘country, were represented in the biddi 
‘Chickering Hall last evening on the paint. 
‘ings. belonging to Frederic Bonner an 1 
‘the American Art Association, if 


for the Mh, 
“week. The eighty-three pele were 
at auction by Thomas E. Kirby for $120,22 
or an average price of more than each, 
Some of the prices in the earlier 8 les were 
“very low. The sums paid later kee pers 
liberal and for auction prices — on. offe spear 
of the sale managers’ own_ property. wou . 
be. pronounced fair prices, although unques- 
tionably some of the expensive paintings: Ssh 


tor some of Mr. Bonner’s French. peintines Te- 
: flected the potency still attaching to the names 
of men of that school. 
A feature of the sale was the bidding = the 
| prices paid for the Monets and Ey ek 8, a 
which hardly any two persons found 
themselves in agreement whe ee 
cussing the probabilities before _ 
sale. The real impressionist and Mia 
student and manipulator of light effects | 
each had:his’ devoted admirers, but even the 
elect feared that the offering of the Roman 
: Cathedrals and the studies of heads at publ “ 
or 


1,000 was offered as the first bid fo 
the sir Monet put up, the ‘West Front o 
the Cathedral, in Fog,’ the audience manent 


from all parts of the house and sent the 
price to $2,800. from the. same. start- 


EOS 
Pcie orf Bes ee a reas 


west front went to $3,000, and the “West 
Front and Tower of Albane” went to $3,100, - 
The dealer best known for his support of im- 
qpecsiouiom was a strong bidder od, the 
fonets and took several of them all told, but 
gotonly one of the Cathedrals. One of the 
others went to another dealer, possibly on ore. 
der,and the other goes tothe gallery of one of the 
best known but most persistently anonymous 
of picture buyers. All of the Monet cathedral 

Patines are now dispersed. The bids for 

fonet’s “Old Church at yereoos jumped from 
$600 to $2,000 at one call. The Besnards sold 
at from $475 to $650, and to the chagrin jot. 
sees American admirers of them they go to 

aris. 

A buyer with the courage of his convictions 
bid up a rather Rome painting of unknown 
authorship to $275. The attraction of a name 
veg some historical value brought out bidding 

to the amount of $650 more fora Gainsborough 
than for a superior painting | by Bol. The pay- 

ment, of the high price of $3,300 for a water 
ecolor’by Mauve might be: taken to indicate that | 


here, as of late in France, there is heightened | 


appreciation of the aquarelles. 


urious bidding for an old Dutch landscape 


with fantastic effects of light resemblin 
Diaz’s style, signed Hobbema., but not believe 


to be by him, sent the price to $1,250. There } 


was sharp bidding for Cazin’s “Crépusele,” | 


which sold at $4,000, The fine painting of the + 


same ees homt . went at $4,200. 
Daubigny’s vening on the Seine” brought 
$5,100; Troyon’s “Land e and Cattle” 
$8,100, Inness’s eae Mont-. 
clair, ”* $1,600. A Ruysdael’ that Had cost a. 
former, owner $7, 500 sold 1 par $2 400. » The 


: 


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maa at vi cgi Th a i Ww. 


Peet aie ee ee ee ee a a rr 


faa jaa ieinscaion i Ie ese: ‘ 2 
ee Fritz a, Knoed Pere agent. 

oro noeler & Core.) eck 

; : at Ne uilly,’’ Raffaelli; Knoedler & Co 

ae Pic ’ Cavin: ‘Knoedler & Oh Wanna enUeE 

he Glope of Day,’ Mauve; Durand-Ruel & 


Petey wip hiss iy Suel sine o's) 352 = 10.0104 46s Bb wb) © Biss 4 0 « whew 


nd wm UNIO E 9 pire ¢ 4. 9)0. 6.6 Gohw hie su ey) )8 6.8 el wis bp ie ote ee 


aE Waning ae Besnard; Ea 

gel *Vollon; Craig & Evans, Phila- 

“Sour ices, Place dela Concorde,” Raffaéii; 

“Portrait of Jacaues d’ Aigremont, *"Bourbus 
the younger; Eben Wright 

“Portrait of the Wite of Jacques d’Aigre- 
mont,’’ Pourbus the Uae he W. Patterson 

Portrait,” Daiies a ig a . M, Laffan . 

€ Deserted House,’’ Wyant; F. A. French 

ve ate: peeping Unknown; Mr. Pendle- 


aT See Tate eb: bile 8 wh gee far 


‘ton of Pr videnc OO rans cali Se Nidan steve Cray ens) ; 


“The Last ae Wyant; .G, H. Stone 


| "The Pigs 

Re ystic Rays,’ pecans DAS elas Ovi 9 enema 
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“West Front of Rouen Cathedral in a Light 
Fog,’’ Monet; Durand-Ruel & Sons.. 
Wert Ae of Rouen Cathedral—Effect of 
” Monet; Randolph, agent....... 
my athedral Wea Front an Tower of 
Pater ne Monet; Cottier & Co... 


Pe PRUCL GB ONS oooh el Cover en ged weno 
‘Argenteull, ” Monet: Durand- Ruel & Sons. . 
“La Pluie,’ Monet: Durand-Ruel & Sons.... 
apy StaCEe Giverny,’”’ Monet; Durand- 
| Ruel & S 5 A eee) ase a cera eee 

Sgt Giverny, Monet; i iaheituabbap, 


Re wie oes isle pips: = 9 dla) 5 MaSTAUbcA On! biveret @. 0) BGR Aim me) aiid 22 )e) 


ty,’ Jacque; Durand-Ruel & Sons | 


“An Old Chureh at Vernon,” Monet; Durand- 


DAY EVENING, 


AT EIGHT O’CLOCK 


‘ 


pERIV ATE COLLECTION 


OF 


Mr. FREDERIC BONNER 


WITH ADDITIONS BY 
THE AMERICAN ART ASSOCIATION 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


FROM WEDNESDAY, APRIL 4TH, UNTIL THE MORNING OF THE 
Day OF SALE, INCLUSIVE 


Reig 


co koi 


CATALOGUE OF 
THE PRIVATE COLLECTION 


OF 


“VALUABLE 
MODERN PAINTINGS 


PRINCIPALLY OF THE 


BARBIZON SCHOOL 


BELONGING TO 


Mr. FREDERIC BONNER 


TO WHICH IS ADDED A NUMBER OF 


IMPORTANT WORKS 
’ 4 _ OF THE 
EARLY ENGLISH, IMPRESSIONIST AND 
MODERN FRENCH SCHOOLS 


OWNED BY THE UNDERSIGNED 


ALL OF WHICH WILL BE SOLD AT PUBLIC SALE, WITHOUT 
RESERVE OR RESTRICTION 


ON TUESDAY EVENING, APRIL totu 


AT CHICKERING HALL ~ 


BEGINNING AT 8 O'CLOCK 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


FrRoM APRIL 4TH UNTIL THE MORNING OF SALE, INCLUSIVE 
Mr. Tuomas E, Kirsy wiLt CONDUCT THE SALE 


THE AMERICAN ART ASSOCIATION, Manacers 
MADISON SQUARE SOUTH, NEW YORK 
1900 ; 


ATER 


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su 


& gee Ey ed ON od trade AO 
aos Peery el 4 is SOBN ese 
APE TA CMR EN 12% 
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CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute 
shall be immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid 
which is merely a nominal or fractional advance, and there- 
fore, in his judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money, zf required, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


4. The lots to be taken away at the Buyer’s Expense and 
Risk upon the conclusion of the Sale, and the remainder of 
the Purchase-money to be absolutely paid, or otherwise 
settled for to the satisfaction of the Auctioneer, on or before - 
delivery; in default of which the undersigned will not hold 
themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the 
Purchaser. 


5. While the undersigned will not hold themselves re- 
sponsible for the correciness of the description, genuineness, 
or authenticity of, or any fault or defect in, any Lot, and 
make no Warranty whatever, they will, upon receiving 
previous to date of Sale trustworthy expert opinion in 
writing that any Painting or other Work of Art ts not what 
itis represented to be, use every effort on their part to fur- 
nish proof to the contrary, failing in whtch, the object or 
objects in question will be sold subject to the declaration of 
the aforesaid expert, he being liable to the Owner or Owners 
thereof, for damage or injury occastoned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience 
in the settlement of the Purchases, no lot can, on any account, 
be removed during the Sale. 


7. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all Lots 
uncleared within one day from conclusion of Sale shall be 
re-sold by public or private sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at 
this Sale, without such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E, KIRBY, 


Auctioneer. 


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BIOGRAPHICAL NOTES 


ARBUDA (V.) Contemporary 


The Spanish Academy in Rome has had a marked influence 
upon the painters of that city. Tt was like warmth enforcing 
warmth. The brilliant vitality of the Spaniards, revealing itself in 
color and in fine disdain for conventionalities, gave a new impetus to 
Roman motives and awoke to activity the long sleeping acquiescence in 
the glories of the past. Sparkle, vivacity, glow of light and color, 
became the objects of the school. Among those directly influenced was 
Barbuda. His work is little known in this country, but he has 
proved himself no mean exponent of the movement. 


. ESNARD (Paul Albert) 1849- 


That Besnard is one of the best and most admired of 
modern French painters 1s due to the thoroughness of his technical 
knowledge, the breadth of his mind, and a saving reasonableness 
which has enabled him to attack new problems without becoming 
infatuated with them. For the last quality especially he is indebted 
to the wisdom of his mother. She was a talented miniaturist, 
who exhibited with success at the Salon for twenty years. Losing 
her husband early—himself an amateur painter and intimate with 
Ingres—she deliberately refrained from stimulating artistic aspira- 
tions in her child, and saw to it that he received a sound classical 
education, But hts leisure was spent in the artistic surroundings of 
her studio, and gradually and naturally his own artistic bias revealed 
ttself. Then he was set to study with Jean Brémond, later with 
Cabanel, and finally emerged from the Ecole des Beaux Arts a much 
noticed winner of the Prix de Rome. For ten years he trod faith- 
Sully the beaten official track, and then, with fully matured powers, 
following quite naturally an instinct of investigation, approached the 
light and color problems of Impressionism. Here it was that his 
sound academic training and reasonableness of temperament proved to 
be his artistic salvation. Enthusiastic without loss of poise, holding 
by the beauty of form while seeking after the mysteries of light and 


color, he evolved a method in which the science and admirable quali- 

ties of the contending schools are combined and made to surrender 
“their respective charms. In addition to his easel pictures, he has 

executed many decorative paintings in the public buildings of Paris. 


OL (Ferdinand) 1611-1680 


A pupil of Rembrandt and one of his most successful imi- 
tators, Bolin later life yielded to the influence of Rubens, with detri- 
ment to his style. He painted some historical pieces, but was distin- 
guished chiefly for his portraits, remarkable for their yellow tone, 
and excelled as an etcher. Dordrecht was his native city ; Amster- 
dam the scene of his work, in which he accumulated considerable 
wealth, 


AZIN (Jean Charles) Contemporary 


A most original and fascinating personality, Cazin has 
given a new impetus and direction to French landscape art, He was 
a pupil of Lecog de Boisbaudran, aptly styled a “‘ master of masters,” 
whose genius lay in analyzing the sentiments and natural inclina- 
tions of his followers, and sympathetically developing them. Like 
other students from that famous school, notably Legros, Gabriel Fer- 
rier, and Lhermitte, Cazin isa realist. Into the landscape art of 
France, that had grown stagnant with imitative mannerism based on 
Corot, Rousseau, Dupré, and Diaz, he blew a breath of fresh and 
healthy life. Yet his realism does not interfere with poetic feeling. 
It leads to exact analytis of the phenomena of nature ; but in the ar- 
rangement of the facts Cazin strives for that harmony of whole and 
simple adjustment to one controlling motive which are the essence of 
poetic truth, Alsoin his choiceof subject appears an unpretentiousness, 
a loving appreciation of the humble little things, a faculty, also, of 
kindling our interestin them. Nor is the larger feeling absent ; tt 
reveals itself particularly in his skies and the free passage of light 
thoroughout his pictures. 

Honors came early to him, at a time when historical and genre sub- 
jects occupied his brush, The landscapes, on which his wider fame 
ts based, have been the fruit of his maturity, 


(COP (Alonzo Sanchez) 1515-1590 


This distinguished painter of the Spanish school was born 
at Benyfayré, Valencia, and diedin Madrid. Tradition asserts that 
he studied in Italy, but the point is doubtful. In 1552 he accompa- 
nied Antonio Moro to Lisbon, where he remained for some years in the 
service of John ILl., and acquired the title of the Portuguese Titian. 


On the death of this king, his widow, Dota Fudna, recommended 
Coello to her brother, Philip II. of Spain, who installed him as royal 
painter, and treated him with unusual intimacy. His brilitant ca- 
veer as courtier and painter, with its accompaniments of wealth and 
honors, ended only with his death. He painted many religious sub- 
jects, notably twelve compositions in the Escorial, But tt ts upon 
his portraits that his reputation is most firmly established. The most 
famous examples in Madrid are those of Don Carlos, the Infanta 
Isabella, and Anna of Austria ; while at the Brussels Museum are 
portraits of Foannes of Austria, Margaret of Parma, and Mary 
of Austria, Like the one in this collection, they are marked by 
a quiet subtlety of characterization and extreme brilliance and purity 
of color. 


e OROT (Jean Baptiste) 1796-1875 


The hush of nature and ceaseless pulsation of the lambent 
air ; and, more, the sprightliness of youth perpetually renewed—these 
are some of the elements of the poetic charm in Corot's landscapes. 
The faculty of rendering such on canvas is a selj-found art. He 
owed little to his masters or the teaching of the schools. The futility 
of his Parisian training he discovered when he reached Rome and 
tried to sketch the individuals that arrested his interest in the moving 
throng. They were there; they were gone. He practised the art of 
seizing the characteristic features of a group in a few strokes made 
with lightning-like celerity, and with such success that in time he 
could fix the outlines of a ballet at the opera. Later on, he applied 
the same accomplishment to his study of nature, No painter has 
rivalled him in the skill of massing his effects with an appearance of 
spontaneous truthfulness. He has captured the banners of foliage 
while stillin movement, and fastened the atmosphere and light upon 
his canvas, still vibrating. The waxing and the waning of the day 
were the periods he loved to paint. His realism was idealized. 

‘* When young he had strolled over the plains ; advanced years 
found him just as free from care as he had been half a century before. 
We discovered him bent like a schoolboy over his themes to the last, 
now erasing with a movement of anger the study which would not 
come up to the example of nature contemplated by the artistic eye, now 
drawing back with sudden satisfaction to better calculate the effect of 
the effort ; when we would hear him from far off, approving himself 
aloud with the words, ‘ Famous, that bit!’ or criticising himself 
roundly with the sentence, ‘We will begin it all over again, my lad.’” 
The passing of Pere Corot was serene and happy, like his life. A 
little before the end he roused with a smile and said: ‘‘ Last night in 
my dreams I saw a landscape with a sky all rosy. It was charming, 
and still stands before me quite distinctly ; it will be marvellous to 
paint.” He was full of years, but age had not touched his spirit. 


AUBIGNY (Charles Francois) 1817-1878 


Simplicity and directness are the secrets of Daubigny’s 
charm, illustrated as much in his choice of subject as in his method 
of painting. He had no thoughts in his brain for which he sought 
interpretation ; just an unalloyed, single-hearted love for the beauty 
of nature. Nor had he much concern for the majestic or strenuous 
in nature, still less for her stern and threatening aspects. lt was 
nature in tranguillity, in relation to the wholesome human country 
life, where the beauty, by its very simplicity, encourages intimacy of 
affection, that attracted him. He painted the coast, and even the sea ; 
but when he had found his true bent, it led him to the guiet windings 
of the Seineand Marne. He built himself a house-boat and used it 
asa floating studio in the summer months. Obvious enough, when 
you come to think of it ; but he thought of it first, and that he did is 


characteristic of his simple directness. In his manner Daubigny 


was closer to Corot than any other of the Barbizon painters. He 
cared little for form ; there is not much drawing in his landscapes ; 
it was the color tones of nature that attracted him, and the charm of 
atmosphere and light. And all so simply and directly chosen and rep- 
resented. As Edmund About says: ‘‘ No effects of studied light, 
no artificial and complicated composition, nothing which allures the 
eyes, surprises the mind and crushes the lttleness of man. Wa, it ts 
the real, hospitable and familiar country, without display or disguise, 
in which you find yourself so well off, and are wrong not to live 
longer when you are there, to which Daubigny transports me without 
jolting each time that I stop before his pictures.” 

fis artistic tastes were inherited and early cultivated, for his 
father was a teacher of drawing, and his uncle and aunt were minia- 
ture painters of sufficient eminence to secure recognition in the Salon. 
in painting he was a pupil of Paul Delaroche, and also learned the 
arts of engraving and etching. In company witha fellow student, 
he tramped on foot to Rome, spent four months in Italy, and when 
their slender savings were nearly exhausted, tramped home again. 
Later he visited Holland. The first of his long roll of honors was 
gained in 1848; and the picture which ‘eleven years later secured 
him the Cross of the Legion of Honor was ‘‘ Springtime 5” 
girl riding through a field of tender wheat, between groups of young 
apple trees laden with blossoms. His early years were passed in the 


a peasant 


country, and to the last he was loyal to his boy's love of nature and to 
the boy's simple way of loving it. 


e EMONT § (Adtien-Louis) Contemporary 


Ranking high among the best modern French lana- 
scapists, and excelling particularly in moonlight effects, Demont has 
won a long list of honors. He was born at Douai and became a 


pupil of Emile Breton, As the husband of the well-known painter, 
Madame Virginie Demont-Breton, he is the son-in-law of Jules 
Breton. He is represented in the Luxembourg by ‘‘ A Mile,” and is 
a Chevalier of the Legionof Honor, 


IAZ (Narcise-Virgile) 31808-1876 
In comparison with the other members of the Fontaine- 
bleau-Barbizon group, Diaz has been styled the great artist of the 
fantastical, the virtuoso of the palette. LEpigram apart, he was a su- 
perb colorist of meagre technical training, forin early life he had 
been at odds with the world. His parents were Spanish refugees 
who had settled in Bordeaux ; at ten years old he was left an or- 
phan; at fifteen apprenticed to the Sevres porcelain works, where 
Troyon and Dupré were fellow pupils. But he quarrelled with his 
master and made his way to Paris, suffering at first dire straits of 
poverty, but finally supporting himself by painting little subjects, 
drawn partly from books, partly from his teeming imagination. 
Then came his migration to Fontainebleau, probably with Dupré's in- 
troduction, and much earnest study under Rousseau, whose aim and 
method he followed without attaining the master’s science. But his 
was a genius that might have suffered by severer discipline, Spon- 
taneous, exuberant, fervid, it caught the splendor of nature, the en- 
chantment of the landscape flooded with sunshine ; its wierder aspect, 
also, of deep forest glades plunged in luminous twilight through 
which the light filters. As accents to the scene, he puts in figures— 
nudes which catch the sunlight by the side of a stream, or figures in 
brilliant costume—patches of color to lift the key of the picture. For 
his study of nature was a secondary thing to his making of pictures. 
He had conceptions of his own to which the forest was but a setting, 
and those patches of color were parts of their expression. Like all 
colorists he relied om patches rather than drawing. But the color 
saves him. One cannot, or does not wish to, escape the fascination 
of this rare painter-eloguence. It speaks straight to the emotions and 
captivates them fully. Andit was all so much apart of the man, 
** One can imagine him,” as M. Wolff says, ‘‘ in the solitudes of the 
forest of Fontainebleau, making his wooden leg resound on the earth, 
and singing with all his lungs to let off his exuberant nature.” In 
1876 he found himself attacked by an affection of the chest and went 
to Mentone, where he revived sufficiently to paint his last picture. 
But the end was come. ‘‘ From his deathbed, through the open win- 
dow, he beheld the landscape bathed with sunshine, and the great en- 
chanter died while looking his last on the day-star which inspired all 
his work,” 


47 UPRE (Léon Victor) . —1816- 
“Four years younger than his brother Jules, whose pupil he 
became, Victor Dupré, in his landscapes, reveals a technical skill and 
strength noteworthy of the older painter, though he has not the latter's 
originality, He was born in Limoges, and under his brother's in- 
Jiuence grew into close sympathy with the aims and methods of the men 
of 1840. 


ROMENTIN (Eugene) 1820-1876 
One important phase of the Romantic movement in France, 
both in literature and painting, revealed itself in a love for the life, 
light, and color of the Orient and the South. Decamps was the first 
to draw inspiration from Turkey and Asia Minor ; Marilhat from 
Egypt, and Fromentin from Algiers. Born at La Rochelle, the last 
named began by studying law, even working for some time in an 
attorney's office. At length, however, he persuaded his parents to 
allow him to follow his artistic bent, and, coming up to Paris, studied 
in the studio of Cabat, a landscape painter. Then came a visit to 
Algiers, and two discoveries—the artistic resources of the country 
and his own personal bias in art. The vastness of briliant sky and 
of burning sand, the clarity and freedom of the air, the stirring life 
of swiftly moving horses with their gay caparisous and picturesque 
Arab riders ; all the glow, fervor, and movement of the scene caught 
his imagination and fixed his purpose as a painter. He stayed there 
two years, revisiting the scene in 1852 and °53,; but it was not until 
ten years later that his great picture appeared in the Salon—‘* The 
Arab Falconer.” Meanwhile he won honors in literature. In 1856 
was published ‘‘ A Summer in the Sahara,” followed by the romance 
‘** Dominique,’ and that remarkable volume of criticism, ‘* Mditre 
@’Autrefois.” Possessed of depth of mind as well as breadth of sym- 
pathy, he served art as brilliantly with his pen as with his brush. 


(GAINSBOROUGH (Thomas), R.A. 1727-1788 


‘* Tf ever this nation,” declared Sir Joshua Reynolds, ‘* shall 
produce a genius sufficient to acquire the honorable distinction of an 
English school, the name of Gainsborough will be transmitted to pos- 
terity in this history of art, among the very first of that rising 
name.” The prediction has been fulfilled, and the appreciation of 
Gainsborough is still steadily growing. From earliest childhood his 
love of nature was indulged. In the woods around his native town 
of Sudbury, in the county of Suffolk, he studied and sketched with 
no other teacher than nature, and by twelve years old had painted 


several landscapes. At fifleen he went up to London to study por- 
traiture, the only branch of painting which, at that day, promised a 
livelihood. Three years later he returned to the country an accom- 
plished painter, but not an academic one. To the last he disliked all 
conventionatities and formulas, Hts celebrated ‘* Blue Boy” was a 
protest against the set rule of Reynolds that the light parts of a 
composition should be warm in color, But he had a natural taste 
Sor form and color, and a large decorative sense ; a poetic tempera- 
ment, tinged with a gracious melancholy, and, withal, wndeviating 
devotion to nature. And as Ernest Chesneau, the French critic, 
puts it,“ he regarded nature in the light of his own pure and tender 
feeling. Sweetness, grace, and a tinge of melancholy shed their charm 
over his landscapes. Through the clouds one tmagines a soft sky ; 
no hard or sharp angles are visible ; the too vivid colors tone them- 
selves down, subject to his unconsciously sympathetic handling ; every 
smallest detail breathes of the serenity which tssued from Gainsbor- 
ough’s own peaceful temperament.” TLtisa grim reflection that these 
landscapes were generally disregarded during his lifetime, and, indeed, 
for along while afterwards. They were painted entirely for himself. 
“ They stood in long lines from his hall to his painting-room, and 
those who came to sit for their portraits rarely deigned to honor them 
with a look as they passed along.” In these portraits he was equally 
unconventional and loyal to the qualities of his own temperament. 
He was wor by beauty, grace, and noble bearing, depicting them with 
poetry and subtlety, and in fresh, pure colors. As his reputation ex- 
tended he settled in Bath, transferring his studio in 1774 to London, 
fle was one of the original members of the Royal Academy, at which 
he exhibited altogether ninety-six works. The body of ‘‘ this most 
benevolent and kind-hearted man,” as Constable in an eloquent eulogy 
called him, rests in Kew churchyard. 


Nea (Charles) 1813-1870 


Hoguet commenced his studies at the Academy of Berlin, 
his native city; proceeding afterwards to Paris, where he was a 
pupilof Bertin and Paul Delaroche. He travelled much in England, 
Germany, and Holland, finally setting down in Berlin and becoming 
a member of its Academy. 


[NNESS, N. A. (George) 1825-1894 


** Intense” is, perhaps, the one word which in the case of George 
Inness sums up the man and the painter. Though fratl of body, he had 
a vigorous intellect, that, despite the number of subjects in which he 
was interested and well informed, had a remarkable power of con- 


centrating for the monient on one point to the exclusion of all others. 
At such times his mind was like a burning-glass that focused all the 
rays of his intellectuality upon one spot. It was the santein the prac- 
tice of his art, especially in the period of its maturity. He was 
so thoroughly a master of the technicalities of his craft, that when 
the mood was on him to paint, his mind was not distracted with the 
pros and cons of how he should proceed, but centred solely and com- 
pletely on the effect he aimed at. Hence his finest pictures are marvels 
of apparent simplicity of manner and of unqualified truth, smitten 
off in the white heat of strong impulse and untrammelled power. 

He was born at Newburgh-on-Hudson, of Scotch parentage ; his 
heredity revealing itself later in the tenacity with which he clung to 
his ideas and the enjoyment he took in abstruse discussions. Butas 
a boy, his teacher announced that he would not ‘‘ take education ;” 
so his father opened a store at Newark and set him to learn trade. It 
was also a failure, the only thing he learned at that time being a lit- 
tle drawing froma Mr. Barker. Then he entered an engraver’s shop, 
the only branch of art which to practically minded people of that day 
offered any sort of vocation. Inness took it as an installment in the 
realization of his ideals ; meanwhile, though broken down in health, 
studying with Régis Gignoux, the landscape painter, for the family 
had moved to New York. 

In those early years of struggle to learn his art, what put it into 
his mind that there was more in landscape painting than the popular, 
panoramic, ‘‘view-hunting"” pictures of the Hudson River school? 
One may call tt the intuition of genius; which leaves the matter just 
as much amystery. The patronage of Mr. Ogden Haggerty, the 
famous New York auctioneer, had given him the needed funds, and 
he went to Europe, remaining there three years, in the course of 
which he visited Italy, Again, in 1854, he wentabroad ; this time to 
France, where the reputation of the Fontainebleau-Barbizon group 
was now firmly established. He analyzed their work and learned the 
secrets of tone values and synthesis. The days of his apprentice- 
ship were over. It had taken him many years, much labor and travel, 
to discover what the student to-day can learn at home—the artist's 
language of expression. Werth the reopening of his studioin New 
York commenced the second period in his artistic evolution, with 
jive years of zealous experimentation and comprehensive study, un- 
disturbed, as he used to say, by ‘‘ cares of bread.” Then he went to 
live at the village of Medfield, eighteen miles from Boston ; in his 
work gradually subordinating everything to unity of impression and 
becoming a master of tone. About this time he painted ‘* Golden Sun- 
set,” which attracted the notice of French critics at the Paris Expost- 
tion of 1867. . | 

The sale of his ‘* Niagara” to Mr. Roswell Smith for $5,000 re- 
moved forever any pecuniary anxteties, and he settled in Montclair, 
New Jersey, where the work of his third and matured period was 
accomplished. With mind fully ripened and skill of hand completely 


gained, he strove to gain more variety and truth of color—‘‘ the 
more objective force,” as he himself called it, without loss of unity. 
His ** Winter Morning at Montclair” so impressed Benjamin Con- 
stant that he induced Boussod-Valadon to have some other landscapes 
consigned to them in Paris on sale. Meanwhile, his pictures were 
selling steadily at home, though mainly at studio prices. But the 
artist's relief from worry was secured, and during his later years he 
could give himself wholly to his art, with a result that has made 
his name imperishable, Death came upon him during a vistt to Scot 
land. 


ACQUE (Charles Emile) 1813-1893 


While the young Jacque was engraving maps, had he any 
dreams of color; or, later on, when he took to soldiering, had he any itch- 
ings to be a breeder of poultry, or any particular sympathy with sheep ? 
Atany rate, in both employments he learned that discipline which so well 
served him in his art; and the map-making led him on to wood-en- 
graving and etching with much accuracy of observation and precise 
draughtsmanship, and the etching, especially, to the larger qualities of 
ample massing of his subject and the faculty of discrimination be- 
tween essentials and unessesttials in the rendering of details. These 
etchings brought him his first honors at the Salon, revived an interest 
in the art, and are now treasured rarities in the portfolios of col- 
lectors. 

It was not until 1861, when he was forty-eight years old, that he 
gained official recognition as a painter. By this time he was a mem- 
ber of the Fontainebleau-Barbizon group, pursued their aims and 
imbued with not a little of their poetic spirit. His pictures, though 
homely in subject, are never prosaic ; thedrawing is always good, the 
rendering of textures superb, and the color, though lacking sometimes 
in illumination, tends often to fine impressiveness. His popularity was 
phenomenal, but never tempted him from the path of truly artistic 


purpose. 


| AWRENCE, P.R. A. (Sit Thomas) 1769-1830 


The career of this painter fully realized the precocious prom- 
ise of his boyhood. Barrington’s ‘* Miscellantes,” published in 1781, 
when the future president of the Royal Academy was a child of 
ten years, commenting upon early genius in children, describes the 
accomplishments of ‘* Master Lawrence, son of an innkeeper at 
Devizes in Wiltshire.” ‘' At the age of nine, without the most dis- 
tant instruction from any one, he was capable of copying historical 


subjects in a masterly style, and also succeeded amazingly in composi- 
lions of his own. In about seven minutes he scarcely ever failed of 
drawing a strong likeness of any person present, which had generally 
much freedom and grace, if the subject permitted. His father’s con- 
spicuous role in life was to fail in business, which he had done in 
Bristol, where the painter was born, and now again in Devizes, so 
that a move was made to Bath. Here the young Lawrence was put 
to study with a crayon painter of considerable taste and fancy, named 
Hoare, whose manner he soon acquired. The shrewd but improvi- 
dent father exploited the boy's talent, taking him from town to town 
to execute crayon portraits, which he sold for ten shillings and six- 
pence each. Among the lad’s patrons was a Derbyshire baronet, who 
offered to set aside £1,000 that he might pursue his studies in Italy— 
a proposal declined by the father on the ground that *‘ Thomas's 
genius stoodin need of no such aid.” He was living upon his son, 
as he continued to do for many years. 

These circumstances in his early life fully account for the weak 
points in the style of this accomplished painter, He never knew the 
discipline of regular training ; such lessons as he had were in a 
medium that relies on clever dexterity ; his mind was distracted by 
continual change of scene and little quick-won triumphs, ILtis small 
wonder that occastonally, in the vivacious handling of his portraits, 
there should be a strain of meretriciousness ; that his brilliant facility 
tempted him sometimes to artificiality, He had not the learning of 
Reynolds, the poetic sensibility of Gainsborough, or the vigorous truth 
of Romney. Yet among the painters of his own day his ability shone 
like a star, and the honors paid him were deserved. He was a favor- 
tte with the court ; elected without opposition to succeed Benjamin 
West as president of the Royal Academy; was a member of the 
Academy of St. Luke at Rome; a Chevalier of the Legion of Honor; 
and his funeral in St. Paul's Cathedral was attended not only with 
great pomp, but with sincere regret on the part of his colleagues and 
the public. The sober judgment of posterity still accords him the 
dignity of a fine picture maker ; facile with the brush, clear in line 
and color, brilliant to the last degree. 


Me (Willem) Contemporary 


One of the gifted trio of painter-brothers, Willem Maris 
was born at The Hague in 1839. 11s landscape and animal pictures 
have given him a fanein Holland and Belgium which has extended 
to other countries. He has been called the‘ Silvery Maris,” owing 
to his fondness for depicting subjects in warm sunlight and haze, with 
a charm of color and tone often suggestive of Corot, 


174 Pei (Anton) 1838-1888 
Fidelity to their own traditions and country has almost 
invariably characterized the painters of Holland, Mauve is no excep- 
tion. He chose his subjects along the coast amid the hardy life of the 
Jisher-folk, but more often in the cattle-pastures and sheep-walks of 
the interior, Fe was born at Zaandam and became a pupil of P.F. 
Van Os. His early work betrays the master’s influence, in a pains- 
taking finish, sleekness of surface and color, pleasant but unsubstan- 
tial. Then he entered upon his second studentship with nature for his 
teacher. His manner changed ; revealing accuracy of observation, 
simplicity of arrangement, and breadth of handling, joined to a tender 
sentiment and tonality. In water color, as well as oil painting, 
Mauve enjoyed distinguished eminence. His pictures were freely 
secured by his countrymen, honored at the Salon, and have found 
their way into the great collections of Europe and America, 


ICHEL (Georges) 1763-1848 


_ Born thirty years before Corot and forty-nine before 
Rousseau, Michel was the forerunner of the modern school of French 
landscapists. Ata time when other painters were building up their 
landscapes upon approved lines and merely utilzing natural phenom- 
ena to subserve some end of fancied sublimity, he dared to separate 
himself from all academic conventionalities and to study nature for 
its own sake. He found tt particularly to his liking in the plain of 
Montmartre, with its long sweep of level distance and large expanse 
of sky. Oneis not surprised that he was unappreciated. Itts the 
Sate of all men who feel and see ahead of their time. He was so poor 
that often he had not the means to procure the materials of his craft 
and not infrequently painted on paper instead of canvas. The trony 
of his fate was that when the principles for which he had striven 
were acknowledged, he saw himself passed in popular estimation by 
younger and more brilliant men. But the sober second judgment of 
posterity has done him justice, recognizing in his pictures a largeness 
of feeling, imaginative qualities, and much beauty of color, 


TVESNARD (Pierre) 1610 or 1612-1695 


About the time that the Grand Monarch declared ‘‘ L’ état, 
cest mot,” he recalled Mignard to Fontainebleau. Following upon 
his student days under Jean Bourcher of Bourges and later with 
Vouet in Paris, Mignard had been living for twenty-three years in 
Rome, painting frescoes in churches and portratts of notable men, in- 
cluding the popes Urban VIII and Alexander VII. He returned 
home to become the rival of Lebrun and gradually to succeed to his 


honors. He painted the portrait of the king, and at once it became 
the fashion to sit to Mignard. He executed important decorations ; 
amongst others, the cupolaof Val-de-Grdce for the queen-mother and 
the hall of St. Cloud for Philippe d’Orléans. After Lebrun’s death 
he became first Court Painter and Director of the Gobelins, and 
enjoyed the distinction of being elected on one day member, rector, 
chancellor, and director of the Academy. Death came upon him five 
years later, while he was attempting to execute the design he had 
made for the dome of the Invalides. He was called ‘*‘ The Roman”; 
his style being reminiscent, particularly of the Carracci, and Carlo 
Doli, 


WY ONET (Claude) -4840- 


‘“* The accursed place" —=thus Monet stigmatized the studio 
of Gleyre,in which for a week or two he was a pupil. He was 
drawing from the living model, and the master, in criticising, said : 
‘‘ You are keeping too close to the model ; you are cupying its defects.” 
This was toomuch for Monet. ‘‘Why not abandon the model and 
draw from the cast?” was his indignant comment to his fellow stu- 
dents Renoir and Sisley. The three seceded from the studio. Thus 
began and ended Monet's scholastic experience. Eugene Boudin, the 
sailor and marine painter, had already urged him to paint in the open 
air. Hereafter he did so. 

‘* Although born in Paris and passing my childhood in Havre,” he 
said one day, ‘‘I have always lived in the country or on the sea-coast, 
except from 1864-1866, when I had a studio in Paris. Strce 1883 
I have lived at Giverny on the Seine.” Itis a simple statement, but 
contains the whole siory of his lifeasanartist. Nearly half acentury 
spent in the country, loving, studying, and seeking to depict it! His 
parents did all they could to discourage his adopting art as a profession, 
even welcoming the fact that he was drawn by the conscription for seven 
years servicein Algiers. But he was seized with a fever, invalided 
home, bought out of the army by his father, and at length, now 
twenty-two years old, permitted to follow his bent. In 1865 a picture 
was admitted at the Salon, followed two years later by the acceptance 
of ‘* The Port of Honfleur” and ‘‘ Young Woman in the Garden.” 
A large interior, ‘‘ Le Dé&jeuner,” was refused in’68, others, in’6g 
and’7o. The young man had become dangerously independent! He 
waited ten years, till 1880; then sent *‘ Les Glagons sur la Seine,” 
afterwards bought by Mr. H. O. Havemeyer. It was declined. 
‘* Pretty hard,” was his comment, ‘‘ but what is one todo?” He has 
never sent another. 

By this time all the Fontainebleau-Barbizon painters were dead. 
Monet might have carried on the tradition with substantial success ; 
but he was a born leader, and, it must be added, has suffered by the 
enthusiastic vagaries of his followers, In the popular imagination, 


responsibility for their extravagances is fixed on him, most un- 
fairly, both as regards the manner of working and the results ob- 
tained, He isa very careful worker ,; laying in broadly and rapidly, 
but afterwards elaborating at leisure and with reflection. His con- 
tribution to artistic knowledge has been unique. Viewing nature 
with the independent eye of genius, he has discovered that in sunlight 
there is height of light and shadow never dreamed of by painters 
before. Itisa discovery which has revolutionized painting and in- 
Jiuenced a number of men consciously and unconsciously, By tem- 
perament a realist, he is not concerned with making pictures, but 
with recording facts as they present themselves, not as he might select 
them. Yet, unless one is blind to the charm of sunshine and its 
mystery of play on the colors of nature, it is impossible not to appre- 
ciate and, at times, to rejoice in his rendering of light and air. These 
effects are all he strives for, but with a completeness of realization 
that may make one content to forego, at times, the other charms of 
subject, detail, and composition. 


~ 


OREELSE (Paulus) {571-1638 


Critics have detectedin Moreelse’s portraits a certain an- 
ticipation of the style of Rembrandt. He wasa pupil, in Delft, of 
Mierevelt, and completed his studies in Rome. Otherwise his life 
Srom birth to death belonged to Utrecht, which he served in his time 
as a member of the council and city treasurer. He was also an 
expert architect and engraver. 


OKITONOW (1.) 
By birth a Pole, Pokitonow established his studio in Paris, 


devoting himself almost exclusively to landscapes, which he painis 
witha refined sense for light and values. 


OURBUS (Frans, the Younger) 1570-1622 


Frans or Frangois—either ts correct, for this painter was 
Flemish by nationality, born in Antwerp, son and pupil of Frans 
Pourbus, the Elder, but he executed his most brilliant work in 
France and became gallicized. His early years were spent in 
Flanders, whence he went to Italy as court painter to the Duke of 
Mantua, Accompanying Eleanor of Mantua, sister of Marie de 
Medici, in her wisit to France, he became attached to the court of 


Henry IV. as royal painter, and, after that monarch’s assassination, 
retained his post, executing several portraits of the Queen Regent, 
Marie de Medici, and enjoying the favor of princes until his death. 


Se C Geapstiia (Sir Henry), R.A. - 4756-1823 


Raeburn may be considered the founder of the Scottish 
school of painting, for he was the first painter of eminence north of 
the Tweed who resisted the allurements of the English capital. Born 
at Stockbridge, a suburb of Edinburgh, the son of a small mill 
owner, he lost his parents early, and was indebted to his elder brother 
for his education at Heriot’s school, At fifteen he was apprenticed to 
a goldsmith, and in his leisure began to practise painting. His master 
sympathized with his efforts, and in time procured him sitters for 
miniatures, with such success that the metal-working was abandoned 
and a share of his earnings rendered to his master in heu of service. 
Later he borrowed pictures from a portrait painter named Martin 
for the purposes of study, meanwhile supporting himself with the 
brush. By the time that he was twenty-three he had saved sufficient 
to travel, and repaired to London, where he introduced himself and 
his work to Sir Joshua Reynolds, and upon the latter's advice spent 
two years of study in Italy. Then he returned to Edinburgh, and 
for thirty-six years painted portraits of the most eminent people of his 
country, gratifying incidentally a speculative taste for architecture 
and a passion for gardening and flower culture. Occasionally he 
exhibited atthe Royal Academy, of which he was elected member. He 
was a member also of the Royal Society of Edinburgh, the Academy 
of Florence, the National Academy of Design in New York, and the 
Academy of Arts at Charleston, S.C. The year before his death, 
on the occasion of George IV.’s visit to Scotland, he was knighted. 
fis portraits are distinguished by vigor and force of characteriza- 
tion, anda fine feeling for rich, ripe color. 


raiRaese AELLI (Jean Francois) | Contemporary 


That thereis‘‘ an unending hope for all men who have 
confidence in their own powers” was the lesson Raffaelli learnt by his 
first visit to America. His own life had been overshadowed by family 
misfortunes and by the terrible results of the war of 1870-71, which 
just preceded his entrance into manhood. The effects of both are ap- 
parent in his early work, Lt is gloomy in color, pessimistic in motive. 
But his visit to America some six years ago changed the tenor of his 
mind; with happier mood has come a sunnier feeling in his pictures. 
fis portraits, especially of young girls, evince the tenderest sympathy 


with grace and elegance, while his Parisian street scenes, by which 
he is most widely known, are no longer dull in tone, with people mov- 
ing in them as if impelled by some pitiless fate. They are full of 
light ; not brilliant sunshine, but the soft luminousness very char- 
_ acteristic of Parisian atmosphere, and corresponding also to the quiet 
moods of a man who has passed the meridian of life. 

Raffaelli first made his mark in the exhibition of ‘‘ Independents” 
or ‘* Impressionists” in 1879, and his pictures still retain the qualt- 
ties suggested by either name. He works independently of precedents, 
using on the same canvas crayon as well as paint to secure the effects 
he strives for. As to the latter, they are realistic in the highest de- 
gree : concerned with the moving actuality of the scene. Toscan 
them by any other means than impressionistic would be impossible. 
So, accepting the principle, he has discovered a formula individual 
to himself. Parisian born and bred, he knows and loves the life of 
her streets and squares, and depicts it with a vraisemblance as com- 
plete as itis spontaneous. 


ANGER (Henry W.) 1858- 
Like almost all good landscape painters, Henry W. 


Ranger owes nothing to the schools. He has discovered his method 
of expression by study of nature and the works of the masters. His 
range of sympathy is just as catholic. Fora while the art and life 
of Holland attracted him, and he painted low-toned canvases, quiet 
reveries such as one of his examples in this collection. He has yielded 
to the influence of the Fontainebleau-Barbizon painters—to that of 
Corot, more often to Rousseau’s, But equally he can be independent, 
notably in such a picture as ‘* An East River Idyll.” His indepen- 
dence 1s shown in other ways also. He belongs to none of the art 
societies either at home or abroad, except the American Water Color 
Society » wherefore, although his pictures are sought for by collectors, 
he has no record of prizes won, 


Raggvspan (Jacob van) {625-1682 


“Of all the Dutch painters,” writes Fromentin in 
“‘ Maitres d’ Autrefois,” ‘‘Ruisdael is he who most nobly resembles his 
own country. Thereisin his work.a largeness, a sadness, placidity 
a little gloomy, a charm monotonous and tranquil.” Later on he 
places him as second only to Rembrandt in the Dutch school. This 
would rank him as the greatest of Dutch landscape painters—a title 
which many critics insist on his sharing with Hobbenta. Be this as 
tt may, the charm of his work is justly appreciated, 


He began by painting the scenery around Haarlem, his native city, 
most prolific in distinguished paintings of the Dutch cities of Amster- 
dam. Berghem ts said to have been his master ; afterwards he may 
have studied with Everdingan ; at any rate, he painted the country 
from which that painter took his name, a wild region abounding in 
dark forests and rushing torrents—subjects which give rise to the as- 
sumption, unsupported, that he must have visited Norway. : 

But he was a man of imagination, of a poetic temperament, in- 
clining to the glowing and romantic ; painting gray skies and sombre 
rocks and foliage, scenes mournful, wild, and usually unpeopled. 
When figures were introduced, it is said that they were painted by 
Ostede, Adrian Van der Velde, or Wouvermans. Notwithstanding his 
indefatigable labor, he did not grow rich; neither did his title of bur- 
gess of Haarlem help him much. Out of commiseration for his 
distress, rather than from regard for his genius, he was placed by his 
Sriends in the almshouse of the city, where he died a year later. 


[ HAULOW (Fritz) Contemporary 


A native of Christiania, Norway, Fritz Thaulow began his stud- 
es at the Stockholm Academy, proceeding thence to Munich. Rebel- 
ling against the conventions of the latter school, he went to Paris, where 
he has established his studio, becoming, in 1892, one of the members 
of the newly organized Société Nationale des Beaux-Arts. Like his 
distinguished countryman, Ibsen, he is a naturalist ; but while the 
playwright enforces the ugliness of the commonplace, the painter in- 
Juses it with beauty. Not that he confines himself to this choice of 
subject ; yet, when he does select a prosaic scene, he is almost without 
a rival to-day in his power of converting it into a vigorous, handsome 
picture, with an underlying poetic significance. In addition to his 
amazing realism, he is a brilliant colorist; one of the most stimulat- 
ing painters of to-day, 


| ROYON (Constant) 1810-1865 


By the time that he was thirty-nine, Troyon had won every medal 
of the Salon save one, and received the Cross of the Legion of Honor. 
So far, his triumphs were gained for landscapes pure and simple. 
Prominent among the painters of the Fontainebleau-Barbizon 
school, he shared with them thetr love of light and color. He was a 
master of tonality, possessing alsoin a remarkable degree the power 
of synthesis, the genius for discriminating between the vital and the 
unimportant in the detatls of his subject, and of massing and posing 


his selections into a harmonious whole. Hence his landscapes have 
breadth and largeness anda fundamental quality. They are parts 
of the deep, firm earth, and the light and air which penetrate them 
suggest the vault of sky. 

But there have been many greater landscape painters than Troyon. 
His individual preéminence was to be gained through cattle pictures. 
fle had been studying farm-yard animals for some years before he 
returned to introduce them into his landscapes, and when at last he 
entered upon his final development, he achieved a series of triumphs in 
which the earlier ones were quite surpassed, and which have estab- 
lished him in the highest rank of animal painters ; indeed, perhaps, 
their leader. What proved to be his real life's work was taken up 
with all the ardor of something new, and, at the same time, with a 
matured purpose and skill, Though he hada profound sympathy with 
animals, he did not sentimentalize them, and while he had mastered 
their character and habits, he did not paint them for their own sake. 

Cattle, particularly, he saw as parts of nature's scheme, which 
had been the study of his life. Their strength and meek endurance, 
their obedience, were to him characteristic of the strong earth 
patiently in labor, with regularly recurring seasons of seed-time and 
harvest. So he painted them where they belonged—in nature, going 
to work or resting amid lush grass, by the side of streams, or under 
the shade of leafage. And with what an ample serenity! As has 
been well said, he is the Virgil of poet-painters, representing the large 
simplicity of the country ‘‘ with its tranquil meadows, luminous 
skies, quiet waters, and that abundance of flocks and herds at once the 
symbol and source of its prosperity.” 


Y OLLON (Antoine) 1833- 


‘* The painter's painter” Antoine Vollon has been called by his 
fellow-artists, for it needs a painter practically acquainted with 
technical problems to appreciate the audacity with which he attacks 
the most difficult ones and his amazing dexterity in solving them. 
Yet this dexterity is only a part of his preéminence. He has lifted 
the painting of still life above the more skilful representation of 
diverse textures and of familiar objects, so that his pictures, by reason 
of superb light effects and rich coloring, kindle the imagination. 
Mere surprise for cleverness is lost in the higher gratification of 
aesthetic enjoyment, 

To the discredit of the Salon, he had been seeking recognition for 
many years before officialdom condescended to admit a picture, in 1865. 
But it obtained a medal; and other honors, even to the highest, fol- 
lowed in steady succession, In the Salon of 1876 he astonished every- 
body with a single life-sized figure, ‘‘A Fisher Girl of Dieppe,” and 
in the following year repeated the surprise with an impressive land- 


scape subject. However, one is content to know him as ‘‘ the greatest 
painter of still life in the century,” and it might be added without a 
superior in the past. 


W YANT (A. H.) 1836-1892 


The Adirondacks were the school in which Alexander Wyant 
found his art. He was a tolerable painter when he started from his 
home in Ohio for study in Dusseldorf, and there, also, must have 
added something to his craftsmanship. But it was face to face with 
nature, as far removed as possible from conventions of the artistic 
workshop, or of any other kind, that he learned the secret of expres- 
ston. Nature had much to say to him and he to her, and little by 
little he found the means to record their communings. So far as the 
world is concerned, the life of a true landscape artist, like that of a 
happy nation, has little history. Itis recorded in his works. 

He was a National Academician, a member of the Society of 
American Artists, one of the founders of the American Water Color 
Society, and a contributor to all the exhibitions. So were other 
painters, much less memorable. These facts are merely milestones in 

hts life. For the life ttself—what it meant to him and the use he 
made of it—one must search his works. In these one finds the qual- 
ties of poetry ; not of the dramatic, kindling style, but tender, allur- 
ing, and infinitely delicate in expression. And withal, there is 
strength, only itis heldin firm reserve. He was fond of gray and 
sombre effects, but could be sunny and buoyant when the mood was on 
him ; in most spontaneous, sympathetic manner. 


Vee (Eduardo) 1842-1871 
Meteoric in its brilliancy, and, alas! too, in its brief ap- 
pearance, the art of Zamacois captured the imagination of Paris as 
the artist's personality had captured the hearts of his friends. Seven 
years only intervened between his first entrance into the Salon, with 
the ‘‘Enlisting of Cervantes,” and the appearance of his last picture, 
‘“*The Education of a Prince,” in 1870. The following year he 
died in Madrid, at the age of twenty-nine. Bilboa was lis birth- 
place; his artistic home Paris, Meissonier his master. The succes- 
stve environment was mirrored in his art. It was audacious, witty, 
satirical, and masterful in the finish of tts style. 

The young Spaniard outplayed the Parisians in the parts so highly 
prized by them. In compliment, they coupled his name with that of 
Molitre. His work had something of the latter's sparkling vivacity, 


its extreme precision, and elegance of craftsmanship. It was brilliant 
rapier play, the more dazzling because not always by the code; his ex- 
periments in color, for example, amazing and delighting by their dar- 
ing. He made his points with the precise assurance of a master, and 
not always playfully. The‘ Education of a Prince” was the most 
trenchant of satires, yet done so elegantly, that the wound was almost 
glossed over in the making. There was a young Prince Imperial 
then in France, destined for a short, sad life and a miserable end. 
But his was not the only tragedy looming. There was his father's 
fate, and, worse still, the tragedy of France and the artist’s own im- 
pending doom. A fatal disease had gripped him, and a few months 
later he died in the plenitude of popularity and maturity of his ar- 
tistic powers. Fortuny, under date of January 30, 1871, sends this 
message to Mr. W. H. Stewart from Granada: ‘‘ I wish to write to 
you of the death of Zamacois, but I was so full of sorrow that my 
courage failed. I cannot yet believe that I shall never see him again, 
and it will be hard to fill his place in my remembrance.” At the 
Universal Exposition of 1878, his name was in the list of those to 
whom the Diploma to the Memory of Deceased Artists was awarded, 


eae laaiess 2 ‘samen ¢ 
Leese AMALIE PUMA ARacanhe 
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Po SAY LONE hae “ke s. eaves 
: Agni > hod Tyrnteiie wi Rt 


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CATALOGUE | 
SALE AT CHICKERING HALL. 


Tuesday Evening, April 10th 


BEGINNING AT EIGHT O’CLOCK 


fad 


RAFFAELLI ; 
(JEAN FRANCOIS) ! fa 


f iAL 
yak 


} ; RAY 1, 
1—Market Day \V Ah. Wh“ 
A tiny picture this, yet full of interest, One corner of a 
_ pleasant market-place, soft sunshine on picturesque buildings 
and the cobble pavement, a tree or two, produce laid out upon 
the ground, and folks bargaining with much chatter and ges- 
ture—all so intimately, pleasantly, and unaffectedly realistic. 
Then the old couple in the foreground—the woman seated, 
the man standing, with a basket of eggs, a goose, and fowls 
in front of them, just such a pair as you might see in any 
country market in France—small peasant farmers,very homely. 
But, having leisure, you watch them. The woman leans a 
little forward, the shrewd, kindly face peering rather anxiously, 
yet the hands laid passively on the iap; the old man standing 
beside her, pathetically patient. You begin to guess the mute 
poetry of their lives; their loyalty to each other, the pitiful 
small showing for their labors, yet the staunch independence. 
Why does not some one buy of them? Ah! there’s the point. 
Raffaelli, for all his quickness of observation and realistic 
record, can feel deeply. 


Signed at the right. 


Owned by the American Art Association. 


Height, 9 inches ; width, 7 inches. 


o 


DUPRE 


(VICTOR) | 


a 
2—Summer Afternoon 


The scene is mellowed by warm amber light. On the 
right, two oaks, grand in form and coloring, stand at the head 
of a line of trees: which recede. into shadow, laced with faint 
sunshine. On the opposite side of the meadow are two 
smaller trees with scraggy boughs. Sheep and cattle appear 
beyond, with figures in red; and farther on the grass fades 
into blue ‘hills on the horizon, over which are white, billowy 
clouds and a vault of brilliant blue. The sensuous harmony 
of the whole, the, rich quality of-tone in all the colors, the 
massing of light and shade, and the severe happiness of the 
sentiment, unite in a most impressive picture. 


Signed at the right. 
Owned by the American Art Association. 


~ Height, 14 inches ; width, rz inches. 


oF ae 
3— The. Monastery Qe ee 


There is Si RS venets in. the conception of this 
picture—a pale evening sky;. the building, dignified. and 
homelike, catching the warm light, and some of the brown- 
habited brethren shown in quiet shadow. . A gentle luminous- 
ness fills the whole scenes the. architectural features of the 
monastery are admirably suggested, the boundary wall having 
the highest-light. The drawing of the trees is very graceful ; 
indeed, the prevailing sentiment is charming, and the tender- 
ness. does not interfere with a fine quality in the color. It is 
a very distinguished canvas. | 


Signed at the left. N 


Owned by the American Art Association. 


Height, 13 inches; length, 18 inches. 


DE BLOOT 


(PIETER) 


4—The Toast 


One of two companion pictures, similar in character and 
tone. As in the other, there are three figures of peasants. 
Sitting on the right is a man in pale rose-colored jerkin, white 
shirt sleeves, and rough green trousers. He samples a tum- 
bler of wine ; head on one side, nostril appreciatingly lifted, 
and hand set on hip—an uncouth connoisseur. Opposite, a 
crony pledges him; while an old man at the back, in half 
shadow, sucks at his pipe and holds a pottle of fruit on his 
knee, The types are rude enough, but full of character, and 
the suave color, is extraordinarily transparent. It is a very 
perfect example of a highly esteemed painter. 


Signed at the right a little way from the a oo 
Owned by the American Art Association. ‘h, be", 


One At 


Height, 12 inches; width, 8 inches. 


7 
DE BLOOT lf 


(PIETER) : 
‘ 
5 


5—A Game of Cards 


j 

One of two companion pictures, similar in character and y 
tone. The subject isa game of cards. The peasant on the , 
left is turning to show us a strong hand ; the other player, v4 
meanwhile, poring over his cards in incertainty as towhichto / Fi 
play. Behind him stands a looker-on, peering over his shoul- \ 
der ; his pipe removed from his mouth in the excitement of 4 // 
the taeaent. and the index finger of the other hand stretched oe 


out, as if in eagerness to point the proper card. This is, per- 4 
haps, the most remarkable bit of characterization in a group NS 
where all the types are thoroughly individualized. The color é 


scheme has.all the limpid qualities of the companion picture, 
and, like it, is a very perfect example of a highly esteemed 
painter, me Bi 

. e : Dus ne i : : 4s 
Signed on the leg of the stool at the right. ©” ae 


Prom Maiinth 


¢ yas 


Owned by the American Art Association. 


Height, 11 inches; wid 3 inches. 


{ @ ae } js 
i i ah 
"a B 
eer 
i f 
7 
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7 
g 
i 
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‘CAZIN 
(JEAN C.) ne 
ey yh | 
6—Moon Silvery Light ry GS iy 


The subject is a turbulent sky above a patch of bleak grass- 
land. A slaty cloud, heavy with rain, hangs above a cot- 
tage set in the hollow of a ridge which stretches across the rest 
ofthe horizon. The foreground is‘rough, stringy grass, boldly 
brushed in with tones of gray, green, and brown. It is a 
realistic picture of strong virility. 


Signed at the left. 


Owned by the American Art Association. 


Height, 12 inches; length, 16 inches. 


BARBUD& 
SF) 
7—Romance and Art 


Fortuny died in Rome at the end of 1874. This picture 
was painted eleven years later, but it is clearly influenced by 


that brilliant: colorist and technician, who, as M. Charles 


Yriarte said, created the ‘school of the hand.” The subject 
is the studio of a lady of wealth ; there is a profusion of stuffs 
and bric-a-brac, secular and ecclesiastical, bizarre in color, 
selection, and disarray. A stretch of dull brown tapestry 
forms a quieter spot in the centre of the picture, emphasizing 
the figure of the lady in white costume, and the suggestion of 
gallantry in the action of acavalry officer. Offsetting this is 
the absorption of an old lady in a print and the arrested in- 
terest of the father, whose newspaper has fallen from his grasp, 
as he watches the young couple. But the main interest of the 
picture consists in the bringing of so much bDrilliancy and 
variety into a reasonable degree of harmony, and in the clear- 
ness with which the movement of the figures and the various 
textures are represented, 


Signed at the right, and dated ’85. 
Owned by the American Art Association. 


Height, 12% inches; length, 25% inches. 


RAFFAEFLLI 


2 a Cane Lr fe 
AA h ¢ ith, A £- 
, 4 f i % Fi t at j F e ah 
8—Old Sailor at Home pS PD Re lla ia 
| ; a iif tt Faia red! OES ila 
a ay 7 ’ ‘ uk 


On a round table in front of the picture is a tea service. fy 
The fresh contrast of the slaty-blue and white and the *“* %% 
homely refinement of these objects may well have been the 
keynote to the painter’s motive. Orderliness, self-respect, 
and mutual kindliness are the qualities expressed. The old 
man and his wife sit side by side; the lady, at any rate, in 
company dress, a little staid and formal in her demeanor 
compared with the less conscious rectitude of her husband. 
Behind them sits a cat at the open window absorbed in its 
own meditations, and the sill is brightened with flowers. 
The simple story is tenderly and shrewdly told. 


Signed at the right. 


Owned by the American Art Association. 
Height, 14 inches ; width, 114 inches. 


HOGUET 


! | (C.) 
o—Landscape f 
On a rough wooden bridge spanning a little stream sits a Xi | 
man in red waistcoat, fishing ; along the bank is a footpath \ j 


overhung with willows. The sky is grayish blue, with masses 
of white clouds. The quiet place and the patience of the 
fisherman, added to richness of colour, take a charming little 


picture. 


Owned by Mr. Bonner. : a 
' | Heiphit’83/ inches ; width, 6% inches. 


> Soe 


PRR, 


ite Sh, acne rteor 


DUPRE 


(VICTOR) 
it fa % 
ise Ke 
10— The Pool » oo 


Darkness is gathering over the pool. The white of the sky 
is reflected in a silky patch bordered by the dark velvet 
masses of grass and sedge. Across the water the light slides 
softly down a gentle incline of pasture, up which winds a road, 
with cattle and a figure on horseback passing over the brow 
towards a flat stretch bounded by low blue hills. On the 
right of the picture, reaching to the edge of the pool, is a 
knoll of ground with oaks, between which the light is slipping. 
Above them the sky holds a promise of rain, but whitens 
towards the zenith and settles over the horizon in a mellow 
glow. The character of the picture is strong and restful i in 
the mingled richness and suavity of its color. 


Signed at the right, and dated 1864. 
Owned by the American Art Association. 
Height, 13 inches ; length, 20 inches, 


POKITONOW 


(IVAN) 


t1—An Early Shoot 


There is much suggestion of spaciousness in this little sub- 
ject. The flat land is broken up into pools of water. A 
sportsman is in the foreground, and in the middle distance 
another has just discharged his gun. The rendering of the 
early morning effect appeals to all who are familiar with the 
hour and conditions. 


Signed at the right, and dated ’89. 


Owned by Mr. Bonner. 
Height, 8% inches; length, 17 inches, 


Per 


ated 
oat a 


(J..€.} the? jes. 
12—The Ruins nt ee (> | gt 
| 2 “i 
What intensity! The dark slaty Sar with menace ; 


the ruined house is stark and staring; the rainbow ehilled 
and the shudder of coming tempest stirs the tangle of lush 
grass. The controlled choice of a few cold colors, brushed in 
with breadth and style, and full of meaning in their tones, 
makes this a most impressive picture. 


Signed at the left. 
Owned by the American Art Association. 
Height, 13 inches; length, 16 inches. 


INNESS 


(GEORGE) 


13—Leeds, New York 


A fine example of the master, and a faithful rendering of 
after-shower effects. The sky still surges with heaped-up 
clouds, but there is a burst of brilliant blue, and a rainbow is 
curved softly over white buildings of a distant village. The 
sunglow glides across the pasture-lands to the foot of the 
shelving foreground, which is in warm brown _ shadow, 
except where a stray beam falls on a little plateau where some 
sheep are feeding. Skirting the sunglow is a vanishing dis- 
tance of cooler light, with a bright blue patch of river and a 
low ridge of purple hills. 


Signed at the right, and dated 1866. 
Owned by Mr. Bonner. Wid At. 


Height, 12 inches ; length, 18 inches, 


wy 


ee 


BESNARD 


y § 0 (A), 
W 14—The Smile Ae 


There is a witchery just a little tantalizing in this canvas. 
It cannot fail to attract; its very fantasticalness insures it, 
and it varies so much at different distances of sight that one is 
left conjecturing which to choose. All which is tribute to the 
painter’s subtlety, for he has converted what might have been > 
a mere studio study into a riante sphinx, as mysterious in 
her mirth as the painter’s own methods of suggesting it. The 
girl’s head is laid back upon a velvet cushion and turned 
towards us, her red-brown hair a loose mass, penetrated with 
light from overhead, which finds its focus-point upon her 
forehead—one spot of shining clearness in a canvas other- 
wise tremulously indistinct. With lessening intensity, the 
light catches the curves of the cheeks, the nose, and the full — 
curves of her chin. Necessarily the eyes are in shade, and it 
is with the luminous depths of this that lies the secret echoed 
in the parted lips. The shadows are in various tones of 
violet, and a silk bodice of warm golden brown completes 
the color scheme. The explanation of the latter is, probably, 
that the head is lighted from above by a cool light and from 
below by fine light ; one of the problems of mixed lights for 


which this painter is famous, <«; 
d on 


' e e } ang a, y: 
Signed at the right. eu 


Owned by the American Art Association. 


Height, 1844 inches; width, 15 inches. 


pu POKITONOW 


(IVAN) 


15—Landscape 


a 


- ; 
GF acount ia ip RIMM eR ANE aay 


at pac 
a 


In the vivid sunshine and still, clear atmosphere the fore- 
ground of hill isbright and crisp. Purple hills appear beyond, 
and blue sea, a little deeper in tint than the almost cloudless 
sky. 


Signed at the left. 
Owned by Mr. Bonner. 


a 


Height, 6 inches ; length, 1334 inches. 


RAFFAELLI 
(J. F.) ‘ a oe 
Wd ; 


16—Holidays at Grandpa’s 


The old man is seated on a stone bench by the side of his. 
porch, a little girl on his knee, tugging at his necktie, while 
another one reaches up to snatch his black skull-cap. Back 
of the group appears a sloping hill, cut up into fields, with a 
cottage on the left, peeping out from trees. Corresponding 
to the painter’s prevailing temperament at the period when 
this was painted, the picture is plaintive in color almost to 
sadness ; but the kindliness of his nature is revealed in the 
little play of the children and the hale sturdiness of the old 
man. Raffaelli in those years had sympathy, but it was / 
grayed over by personal trouble. , ? Ba 


{ x 
is : 1, Pocbrags it HY : ad zis i 
BN otha aa yer: ™ 


Signed at the left. ~ 


i Si gras Mae ld 


iy, 
€ & 
pees 


Owned by the American Art ALIS 8on. 


Height, 22 inches ; width, rg inches. 


. ~ ZAMACOIS 


(E.) i f shot 
ji 
17— The Spanish Troubador 
This elegant little picture is elaborated into characteristic : f 
finish, and in color charm forms a scheme as brilliant as it a 
is well controlled. The scarlet dechetto is the pivot-spot of € 


color ; balanced towards one end of the scale by the rose of 
the doublet and the plum-colored tights, and in the other 
direction by the tawny greens and pale pinks on the tapestried 
walls; while the pale-yellow body of the lute forms a counter- 
acting note to the prevailing warmth. This is a presentation 
picture, and was given by the artist to Mlle. Buttura. 


$8 
4A Mile. Buttura. ; ‘ota AA BA. 
( Zamacois, ’66. BP POA tOrve 


HRT 


Height, 9% inches; width, 734 inches. 


Signed at the right 


18—Clouds i be Valley. Ane a. 


Stillness and so kde hawt the. outer world hangs a 


curtain of steel-blue sky pierced by star-points; the great, 
white, luminous cloud hovering upon the top of the hill, the 
sides. of which, covered with scrubby brushes and a solitary 
small tree, are weirdly distinct in the diffused moonlight. 
Nature has been surprised asleep. 


Signed at the left. LB aed 7 


Owned by the American Art Association. 
Height, 18 inches; length, 22 inches. 


UNKNOWN 


19—I/nterior of a Stable 


The light streams through an open door, gradually losing 
itself among the timbers of the roof and in the dim recesses 
of the long stable. Two horses are feeding at a rack on the 
right and aman attends to them. His trucklebed can be 
made out farther back, and various objects are seated about 
the straw-laid floor. Warm browns and dull yellows pre- 
dominate in the color scheme, except for the vivid bit of 
lighted road and trees seen through the door, and the com- 
position is an interesting study of light, direct, reflected, and 
diffused. 


Signature at the right not decipherable, dated 1837, 


Owned by Mr. Bonner. 
Height, 10% inches; width, 74 inches. 


a 
DUPRE 
(WIGTOR | bg 
he .\ aot 
20—Summer 10 Sea si ! 
‘In front, beside a‘clump of handsome ‘trees growing dense 
in the fading light, is a little.pool in:which) two cows are 
drinking. | A little way from the edgesits a woman in blue 
dress waiting’to drive them home. Back :across the meadow 
- the farmhouse nestles amid. trees, ‘their’ outlines blurred 
against the gray horizon. “A large; warm white cloud hovers 
above, and’ overhead the sky is greenish blue. There-is a 
very pleasant distribution of: light, soft: and pervading ; the 
darker portions are broadly treated and pale in color, and the 
simple quietude of the scene is ne fe ee a ye 


we 


Kesh 


ore 


Signed at the right. Dated 1864. t a 
Owned by the American Art Association. 


Height, 22 inches ; width, 328 inches. 


RANGER 


(H. W.) 


21—Landscape 


The tranquillity of gathering twilight is charmingly ex- 
pressed. A curtain of white is slipping down over the paling 
blue of the sky. Against it the feathery sprays of a group of 
trees, the solid bulk of a windmill, and a‘light mass of foliage 
show sooty green. In the foreground a patch of water shines 
- by the roadside, and a figure appears in blue blouse. There is 
a silky’quality in the lighter parts of the picture, a velvety one 
in the darks, and a prevailing sincerity of feeling. 


’ Signed at the left. 


Owned by Mr. Bonner. 
Height, 18 inches; length, 26 inches. 


= 


TE ot: To aap Re Bey 
Ae 


Tare 


pemenigstehe Nnneaeans 


Se SS eae 


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Pe - i. 
fe i$ a 4 
el 


THAULOW 


(FRITZ) 


22—The Lane at Night 


How tenderly suggestive of tranquillity! The lane is 
dappled with sooty shadows from a tree massed on the right. 
Opposite, the moonlight laps softly over the brickwork, white 
plaster, and thatch of two cottages. Beyond them, the foliage 
of a tree, sprinkled against the luminous solemnity of the sky, 
pales into dreamy unreality. At the end of the lane, indis- 
tinct in the misty light, are other cottages, and from an open 
door a glimmer of orange firelight. The luminosity, both of 
the light and dark passages; the delicate discrimination in 
values; the fusing of pale and warm glow; the expressional 
quality of the colors and their sensitive harmony, combine to 
produce a feeling of indescribable repose. It is an emotional 
picture of rare sincerity and refinement, revealing this gifted 
artist to more than usual advantage. 


Signed at the left, dated 1894. 
Owned by the American Art Association. 


Height, 26 inches ; width, zoinches, 


MICHEL 


(GEORGES) 


23—Near Montmartre 


An effective rendering of light between showers. Across 
the centre of the picture is a stretch of flat pasture-land 


_ vanishing towards slate-colored hills: A small river winds 


through it, and on its farther edge are scattered cottages and 
a windmill, nestling along the foot of wooded slopes. The 
sky is white and open on the left, rising through dark gray 
cumulus clouds to a sullen patch high up on the right. Con- 
trasted with these lighted portions of the scene is a dark 
woodland, in the front, on which are scattered shrubs, a cot- 
tage and farm buildings, while to the extreme left, on a plateau, 
catching the light, are figures and goats. One of the most 
refined and complete examples of this much imitated artist. 


* A te iad renwal 
% se ah * a 
j by 


Owned by Mr. Bonner. pe 
Height, 20% inckbs : length, 26% inches, 


% 


wm 


RAFFAELLI _ — 


—24— Your Very otf Le 


& 
aPuyer mae ba reg fp 


Pek 

In the Waly coe ofa pee ifn, a laborer sits at a table, 
raising his aan of wine in salutatién to the landlady, who has 
just filled it. Beyond the high road is a stretch of grass, a 
cottage to which a man is carrying a load, and fluttering 
clothes drying on a line. It is a page out of ‘the simple 
annals of the poor”; unadorned, for the scene is bleak and 
cheerless, but with the saving grace of the man’s courtesy and 
the woman’s sturdy kindliness, - 


Signed at the right. 


Owned by the American Art, Association. 
Height, 23 inches ; width, goinches, © 


DEMONT 


(ADRIEN) 


25—Coastguard Station. Early Morning— 
Setting Moon | A 


The poetry of the sea and its atmosphere—how well ex- \ 
pressed! In front are sand-dunes; the coastguard station 
catches the kindly light of the rising sun, and the shore loses 
its outline as it curves into the distance, where the gleam of 
two lighthouses is seen on the shore. The sea, too, is tran- 
quil, of a beautiful blue merging into a bank of gray-purple 
haze through which the moon is setting yellow and red. The 
subject is full of feeling, strong and tender ; unaffectedly 
sincere and expressed in a truly pictorial manner, 


Signed at the left. 


Owned by Mr. Bonner. 
Height, 18 inches; length, 33 inches. 


Se a oo 


= af 7—Early Spring 


a ot 
& Beh, ok 
Ayan 

oeagere 


* BESNARD 


26—Meditation or a fa 

This fascinating picture seems to be another example of the 
painter’s fondness for blended lights ; in this case, a cool one 
from the left top corner, and a soft, warm one from the lower 
right. The girl is seated with her cheek resting on her hand; 
her white dress, open at the bosom, and fastened round the 
waist with yellow ribbon. The pose is easy, and the drawing 
very charming in its sensitive grace. Her red hair is some- 
what forced in color, doubtless, to help the tenderness of the 
glow upon the cheek, bosom, and arms, and the clearness of 
the flesh in the cooler parts. Meanwhile, some balance for 
the hair is obtained by the warm shadow in the hollow of the 
girl’s hand and in the tints of the mahogany chair: Itis a 
canvas with very interesting union of breadth and refinement. 


Signed in the left top corner, and dated 1893. 
Owned by the American Art Association. 


Height, 20 inches; length, 24 inches. 


WYANT 


(A. H.) 


A simple little subject, but.treated so interestingly... The 
foreground, for example, broken and tumbled with gray rocks 
peeping through the thin grass, whitened with light, is broadly 
and freely painted, and yet with happy suggestion of detail. 
The sky, too, is finely managed ; deep blue to one side, grow- 
ing grayer and reaching a climax of light in the centre of the 
picture. The feeling throughout is fresh and brisk. 


Signed at the left. 


Owned by Mr. Bonner. 
Height, 12 inches; length, 16 inches. 


28—Low Tide ppv yb wh \ 
ee yr ad 

Seldom is Ca to hen nerous with color as in the present 
picture. The shelving point of coast rises up a strong, dark 
mass against the evening sky; but its tones are rich and varied, 
in the vegetation, the winding brown road, and the colors of 
the boats, and of the buildings half-way up the hill. A gray 
and white house at the top lends a tender note, and then a 
flash of light, the sun’s late dallying with a group of cottages, 
gives a passage of brilliance. The sky is pale blue, gray- 
streaked above, and thick with flocky clouds over the horizon, 
where a strip of water shines. The rest of the shah eden is 
sand ; flat, spongy, and lustreless. > ie 


my e. ie & oy ? ‘ 
Signed at the left. : 1a z fe ph : 


ey 
ey, 


Owned by the American Art Beihciation: 
Height, 22 inches; length, 28 inches. 


DAUBIGNY f f o 


(C. F.) 


i 


A row of women on their knees are washing clothes, and on if 
the high bank above a team of tow-horses are straining at the : 
rope. There is a turn in the river, and the boat has crossed 
the stream and is slowly straightening its course for the new 
reach ; a very truthful detail. The canvas is strong in tonal 
quality, based upon a gamut of cool grays and browns, en- 
livened with blue and white notes supplied by the group of 


women. r » rasta? 
a if ya 
wn iB, Eg . Pa 
Stamped at the right, ‘‘ Vente Daubigny.” i ee on 
Hh \ | eeeeaae 
Owned by Mr. Bonner. fon <0 ( ( 
. H cht, ro inches ; Oeagrh? 18 inches, 


yt COROT 
mye epeaee, es 


a 
e 


f Uo 7 
je 


. . 4 pom pe 
30—The Road to the Village ‘}-* 6 
By what 
simple means one is made to feel that the road rises to the 
crown of the bridge and dips again beyond. Again, how 


eae ee 
— 


There is most skilful painting in this picture. 


a 
Pa 


Fa 


ERTEN TET at i. 
Bros TR 


freely the two figures are brushed in! There is no stiffness 
or permanency in their pose; they have stopped only for a 
moment and will be moving presently. The picts: too, is 


excellent in aimos Pherae efect. j 


Signed at the left. 


Owned by Mr. Bonner. 
Height, 1034 inches; length, 14% inches. 


JACQUE 


ae, £ 
RY oe 
pes 1 Oe 
en C.E 
7 ai e ° 


31—Flower Piece 


Against a background of dark greenish brown is a profu- 
sion of azaleas. The larger mass consists of two shades of 
rose color; the smaller bunch is white, miniol arrangement 


very decorative: 


Signed at the left. 
Owned by Mr. Bonner. a: 
Height, 17% inches; length, 26% inches. | 


f  RAPEABLLI 
(J. F.) 


32—La Place St. Sulpice 


The sky is sullen; it has rained, and the browns and grays 
in the foreground shine like a wet pebble. The two sisters 
of charity, in their slate-gray habits and white scapulars and 
coifs, supply the top note of the color scale, sharp, clear, and. 
silvery, to which, in varying degrees of vivacity, back to the 
dull ochre of the church, all the lights are regulated. The 
darks, which are freely sprinkled through the picture in the 
vehicles and pedestrians and in the sooty shadows, find their 
climax in the black cassock of the curé. The ensemdle, 
accented here and there by spots of red, presents a mingling 
of vivaciousness and sobriety quite in harmony with the sad 
weather and busy scene. In itssuggestive realism the picture 
well represents this master of impressionism. 


Signed at the left. 
Owned by the American Art Association. 
Height, 25 inches; length, 30 inches. 


BOL 


wt 
-/ @) > 
. ti Ae Se a i how A} 
33—Tbe Burgomaster =< * i 
’ ii 
From the collection of the late M. Harbaville de Boulogne-sur-Mer. ; 
This. portrait is strong in characterization and pictorially ; 
splendid. The portly figure in its magnificent robe, the florid f 


features none too firm, the conscious affectation in the gesture 
of the hand, itself almost effeminately white, combine to sug- vi 
gest the substantial worthiness of the citizen, a little vain in 
office, a trifle self-indulgent. The quality of the color through- 
out the picture justifies enthusiasm—full and penetrable in 
the dark robe, vivacious in the fur, ripe and clear in the flesh 
tints of the face, and delicately luminous in the hair and beard. 
Indeed, the luminosity of the whole canvas is remarkable ; 
which not only renders the subject instinct with vitality, but 
makes the canvas a generous and noble picture. 


Owned by the American Art Association. 
Height, 28 inches ; width, 21 inches. 


eae 


GAINSBOROUGH 


(THOMAS) 


34—Portrait of David Garrick 


The suggestion of spontaneity is admirable. One fancies 
that there was little posing and no premeditation. The famous 


actor may have been paying a morning call at the studio, and, 


turning round in his chair to join in the conversation, was | 
seized by the painter then and there. He leans his elbow — 
upon the arm of the chair; the lips are slightly parted, and — 
only the eyes have a trifle of fixity. The color scheme is cool ; 
and agreeable, made up of strong flesh tints, powdered hair, 
and slate-blue double-breasted coat, accented by the silver 
edging to the collar and cuffs, and a touch of red upon 
the waistcoat. The modelling of the features, perhaps 
a little dark in the shadows, is thoroughly virile and life-like. 
As a portrait it is individual, and very suave and dignified 
as a picture, 


Owned by the American Art Association. 
Height, 2514 inches; width, 2z inches. 


MARIS 


(WILLEM) 


35—The Duck Pond 


The ‘‘silveriness” for which Maris is noted appears in 
this picture—in the leafage of the trees, and the water myste- 
riously white amid the shadows. It is a lovely spot, moist, 
cool, and sheltered. The ducks and their broods are painted 
with charming fidelity, the vivacious action of one or two of 
them forming a happy note of accent in the tranquillity of the 
picture. 


Signed at the left. 


Owned by Mr. Bonner. 
Height, 21% inches; length, 38 inches. 


BESNARD 


(P. A.) ie 
pe 


36—Sunshine Ae iN : 
Jt by thse : 
The problem that Besnard set himself in this picture is 
the contrast of warm tones in shadow, with cooler ones in 
sunlight. The lady seems to be seated in a veranda, her 
hands resting on the iron balustrade, and, beyond, a mild 
sunlight plays upon the grass and foliage of the garden. A 
reflected light, evidently from the wall of the house, catches 
the frill of her rose-colored bodice and bathes the side of her 
face, which is turned half round to us, with warm amber - 
tones, while the hands are exposed to direct light. The pic- 
ture is an interesting example of this justly esteemed painter. 


Signed on the cuff, and dated 1893. 
Owned by the American Art Association. 


Height, 22 inches ; width, 17 inches. 


INNESS 


j Fi, “ey 
, iy 
(GEORGE) L- ba | 


37—Off Penzance, Cornwall, England / 


Sky and water mingle in a gray-blue haze, penetrable, how- \ ff 
ever, for distant sails are visible like white phantoms. Con- "4 
trasted with the spirituality of this are rude realities, a ragged 
bit of shore, and moored a little from it a cluster of fishing 
boats, with dark hulls and slate-gray sails hanging limp. The 
time is daybreak, and the scale of color tone reaches from the 
dark of the hulls up to the white of a building on the shore. 

Its unity with variety is admirable, and the feeling of the sub- 
ject mysteriously impressive. 


Signed at the right, and dated 1887. 


Owned by Mr. Bonner. 
Height, 20 inches; length, 30 inches. 


DIAZ 


(N. V.) 


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: Sun SES 

at pve 4 
Aaa ta st? 

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ee BS se 
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the y} ys ee AAT os 

This is a subtle hareroey of cool colors interwoven with 
warmer ones. A clear sheet of water reflects the blue sky 
and the white of a stone foundation to a pagoda-like summer- 
house. <A tree behind the summer-house holds the centre of 
the picture, and smaller trees, yellow leaved, are grouped on 
the left beside a flight of steps down which a woman in a red 
cloak is stepping. Along the farther edge of the lake a lady 
moves quickly, her fluttering draperies echoing the pale plum 
color of the pagoda, while upon the bank nearer to us kneels 
a woman in adress of bright rose. At the back of the picture 
appears a vista of open country, bounded by a rim of blue 
hills. It is an example of the artist which Rate We his marvellous 


versatility as a colorist. 


38— Turkish Landsca 


Signed at the left. 


Owned by Mr. Bonner. 
i ; i 10 inches ; length, 3 inches. 
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DAUBIGNY 
(ceEy” 
39— Twilight 


Solemnly and tenderly night is sinking down upon the river. 
One stands upon the bank fringed with reeds and water-flowers, 
a mass of greenery rising on the right and slender stems of 
intertwined willows. The stream reflects on its smooth sur- 
face the pale sky and the dark masses of the trees which stand 
close together a little back from the other sloping bank, with 
here and there a bunch of faint amber foliage. Beyond and 
above the sky is primrose, softly shot with golden-white flecks 
of clouds. The unity of feeling in the picture is complete. 

sabe 
(frome f ¥ 


Owned by Mr. Bonner, > ae sof Ane f 
“* \ Height, ey. Paved length, 3einches. 


Stamped at the right, ‘‘ Vente Daubieng. 
AA, 


FROMENTIN 


(EUGENE) , f DP tied ra 


; \ M we é 
40—In Algiers yf oe a | 


One remarkable characteristic of fis metre is its peeled 


force. Theclarity of air, rich coloring, and heat and brilliance . é 
of African light are expressed, but without glare. The front f 
part of the scene is low in tone, with a sonorous depth in its | f 
colors. Far overhead is a pale blue sky, full of light, which Ww 
strikes down upon a distant wall of rocks. Doubtless they 


are almost calcined by the heat, but distance softens the in- 
tensity, and that strip of deep blue water also, while it tells of 
heat, helps to cool the canvas. The scene is a little natural 
harbor, apparently of horseshoe form, with an antiquated fort 
upon this nearer spur, on which a group is gathered. Some 
are engaged in loading donkeys and bringing up merchandise 
from the shore; others sit wrapt in their dark draperies, while 
others, again, are stretching their brown limbs along the hot 
ground; for even in the low-toned parts the atmosphere 
fairly hums with heat. The picture is vividly suggestive of 
local life and natural features, but the knowledge is tempered 
with such masterly reserve and enforced with so much artistic 
cunning that what might have been merely brilliant and vi- 
vacious is elevated to a preéminently dignified canvas. 


Signed at the right, dated 1853. ae ae 


ag bese 


- Owned by Mr. Bonner. 5 a “ 
Hetght, 13 ‘incheas length, 22% inches. 


DAUBIGNY Pg ae 


(Ci4F.) \ 


41—The Cliff at Villerville — balers Em. 


There is the suggestion here of freshness after rain and the 
impressive contrast of cool, darkening earth and foliage with 
a tender sky still retaining a little light and warmth. | Filmy 
clouds of pale violet move across the sky, which shows deep 
blue overhead and rosy. white at the horizon, where it meets 
the greenish blue of the water. The bulk of the trees and 
bushes and the solidity of the ground are strongly expressed, 
the quality of the color is excellent, and a quiet pocig, elvis 
pervades the picture. ee Col fei. 


ed gt epty Z ip 


Signed at the right. | 


Owned by Mr. Bonner. | ; 
sktndgos 1334 inches ; eet 22/6 lichen. 
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a WYANT 


(A. H.) 


42—White Pincha MM. the Adirondacks 


A glimpse of the aah in het early spring. There 
are white birches, gray rocks piercing through the blue-gray 
grass and brown dead ferns, and we see masses of pearly 
clouds, parting to show a patch of pale blue. It is a harmony 
of gray and white with a sprinkle of stronger notes ; the whole 
sensitively delicate with a feeling of pure nimble air. 


Signed at the right. 


Owned by Mr. Bonner. 
Height, 25 inches; length, 32 inches. . 


(c.E)\) ae 
1, \ AV 
43—The Farm LAGS 


A picture of rich tone and homely poetry. A patch of light 
lingers in a sky flustered with clouds ; the shadows are creep- 
ing over a cluster of sturdy cottages with mossy thatched 
roofs, dull red chimneys—one sending up a lusty volume of 
smoke ; over sheltering trees and smaller fruit trees and the 
hedge that snugly fences in the garden. Outside is the pasture, 
dotted with bright-colored fowls, where a man and woman 
kneel at some occupation. It is a scene of simple prosperity, 
of rest succeeding to contented labor. An early example of the 
artist, painted when he ranked high as a colorist. 


ow. 


Signed at the left. co8. re 


Owned by Mr, Bonner. 
Height, 73{ inches; length, rr34 inches. 


THAULOW 


e GRIT). oy 
44 —Winier PG IOS 


Here is a work joyous in its brilliant coloring and sense of 
brisk air and clear atmosphere. Yet how knowingly the bril- 
liance is controlled ; hence the joyousness, rather than a mere 
gratified sensation. Consider that the color scheme is a play 
upon red, white, and blue—perhaps the most difficult com- 
bination to treat pictorially—and one begins to appreciate the 
skill with which harmony has been obtained without loss of 
accent. The left half of the picture is in faint shadow, the 
rest in bright light. The deep tones are set in the stream, 
and how the iciness and flow of the water are expressed! The 
snow-covered land and the two red houses are the top notes, 
both modulated in the shadowed parts and attuned to the blue 
by the yellow-green stems of the trees, their transparent blue 
shadows, and by the tawny foliage at the back, and the pale 
greenish sky. However, these are mere words, a slight 
analysis of the painter’s science ; and, after all, the picture 
itself speaks to better purpose. Its union of realism with 
pictorial quality of the most attractive sort is amazingly com- 
plete. 


Signed at the right. 
Owned by the American Art Association. 


Height, 25% inches; length, 34 inches. 


COROT 
(J. B. C.) 


45— The Mill 


A pleasant scene of village prosperity. A meadow in the 
foreground, across which a woman is walking, leads to a 
stream bordered by trees. On the right is the mill, with gray 
stone walls and dull red roof. Smaller cottages appear on 
rising ground, above which gardens are laid out, separated 
by a white wall from a coppice of dark trees which stand out 
against a pale gray-blue sky. The composition is well 
planned. There is largeness of feeling in this canvas, and 
a purity of atmosphere most admirable, 


Signed at the left. eS et 5 aut i} rel 


he 


Owned by Mr. Bonner. i Poth, eE atl 


; Height, 121% inches ; length, 13 inches, 


RAFFAELLI 


(J. F.) hort bat 
Pa i ; adj ; 


—46—Street at Neuilly \¥- , af 


Instead of the brisk stir of the city, there is here the drowsy 
movement of a country town. The outward characteristics 
and the spirit of the scene have been seized and expressed with 
equal felicity. The picturesque irregularity of the buildings, 
the little square and trees, children coming from school, a 
tradesman’s cart waiting by the curb, a nurse and baby, road- 
men at work, saunterers and loiterers—all are true to life, 
and pervading the whole scene is that air of simple, leis- 
urely pleasantness so characteristic of a little French town, 
The emphasis of the picture is a widow near the foreground, 
conversing with a man in dark brown clothes. In sentiment 
and handling it is a more than ordinarily charming example 


of this clever artist. Pe, A V's 
: \? 0 gs e: 5 et e ne ; 

Ww pS 
j i er : 


Signed at the right. 4 
Owned by the American Art Association. 


Height, 25 inches; length, 30 inches. 


t \, 08?" CAZIN 


3 Sam . hn Bg 
47—Crépuscle ee ee 


wan # Bo me ae 


from the collection of M. Coquelin, the celebrated French comedian. 


Intimate observation of nature is shown in this picture. 
4 4 Note the definiteness, almost hardness, of the field and shocks 


4 of corn. The moisture has been sucked from:the earth ; it 

| lies heavy on the horizon, in a bank of purple haze which red- 
‘i ; dens the sinking sun. By contrast with the horizon, the yel- 
4 N§ low field, pale in the fading light, counts cold and a trifle 
4 hard ; the green at the top of the slope, because it has more 
: affinity with the purple gray, less hard. Such light as there 


is, is high up in the sky, but at our point of sight does not 
strike the foreground. All this is strong work, rejecting the 
temptation to sentimental effects and giving truth, but so 
: pictorially that the frank statement does not jar upon one. 
The harmony, in regard both to atmosp eré and color, is 

complete. { 


| Signed at the left. if | ae \ pl 
i Owned by the American Art aay “ { oA : gt 


Height, 23 inches; length, 29 inches. 


t 


MAUVE 


48—The Close of Day 


_ This is a picture of strong feeling. The surroundings of 
laborious peasant life, contrasted with the sky, are almost 
spiritual in their suggestion of solemn benediction. In the 
gathering gloom, the cottage on one side of the road, the 
small outhouses on the other, the bunch of trees beyond, form 
a mass of dull browns, grays, and greens, relieved by the 
blue clothes of aman gathering wood. One treesprinkles its 
slender limbs and foliage against a pale primrose sky just 
tinged with lingering sunglow. Higher up is a streak of 
pigeon-hued clouds, and then a canopy of gray haze. The 


day’s labor is completed ; darkness is succeeding daylight; | 


and a mother standing, babe in arms, at the cottage door, is. 


calling the husband to the last meal of the day. 


Signed at the right. _ 


Owned by Mr. Bonner. 
Height, 22 inches ; length, 30 inches. 


MAUVE 


(ANTON) 


49—Return of the Flock 
cet (Water Color) 

Delicate tonality, vigorously expressed, and a sentiment, 
gracious rather than strong—well-known characteristics of 
this painter—are here seen in happiest combination. A row 
of cottages line one side of the road, on which a shepherd 
stops to chat with a woman, while the flock waits passively 
in front of him. The sheep are drawn with thorough knowl- 


edge; those in the foreground well individualized, with clever 


differences of craning necks, very sheeplike ; the mass sug- 
gesting bulk and movement, as well as the texture of loose, 
long wool. The latter, brushed in with freedom and certainty, 
reflects the pale light of a sky which grows slightly warmer in 
tone towards the horizon. Thecool green of a patch of fenced- 
in grass and the solidly painted gray cottages ‘add force and 
substance to the delicate vibration of the lighter parts. 


Signed at the right. 
Owned by the American Art Association. . : 
Height, 25 inches; length, 35 inches, 


(ANTON) f 2 4) sb 


BESNARD | 
(P. A.) et 


so—The Waning Year ~ 


é * The poetic feeling in this picture is due much less to the 

i little allegory of the title, which, one may suspect, was an 

i after-thought, than to the color scheme. Stated simply, it 

\ | seems to be a problem of conflicting yellows, paling or warm, 
j according to their degree of light and the surface which they 

. play upon. The light is from above and cool ; the flesh tints 
of the hand, raised upon the staff, are normal. But the girl's 
face is inshadow, its soft texture taking amber reflections from 
the yellow gauze robe. The latter, by reason of its hard, dry 
surface, is pale and cooler as compared with the shining leaves 
that fallin a shower across a background of deep blue, broken 
with green and gray. Still further to take the color, as it 
were, out of the yellow, a portion of a white chemise is shown 
above a purple bodice. It is a strangely interesting problem, 
the fascination of which grows by familiarity with the picture. 


Signed at the 


Owned by the American Art Association. 
Height, 24 inches; width, 19% inches. 


ae VOLLON 


A ae ) (ANTOINE) 
a ra 3 
| ot 51—Landscape 
Here is the work of a giant revelling in his strength. The 


5 

; 

: 

spacing is so generous, the color rich in quality, and the brush- 

} work stimulating in its breadth and certainty. On the left of 

the scene the sky is blocked with a slaty mass of storm-laden 

. cloud ; elsewhere the blue appears, and, almost in the centre, 
a great bellying cloud gleams warm in the light. Against it 
the red and white of the cottages, the browns and greens of 
the vegetation, and the sandy road stand out coldly distinct. 
The picture must have been attacked in a burst of enthusiasm 
and then finished with all Vollon’s faithful care for color, light, 
and texture. 


| Signed at the left. 


Owned by Mr. Bonner. 
Height, 2534 inches; length, 3634 inches. 


(J. F.) hy , eat fv 


teo 
52—Nourries, Place de la Concorde 


Two nurses stand in front; one back to us, with long red 
ribbons hanging down over the pale blue cloak, the other 
facing her, in a cloak of dark slate color, with light blue rib- 
bons, and holding in her arms a baby wrapped in a white 
shawl. Behind them stretch the trees of the avenue, bare of 
leaf; and over the wide gravel path and along the road that 
borders the trees are sprinkled moving figures and carriages. 
A little back of the immediate front is a subsidiary group, 
consisting of a woman and two children with fawn-colored 
dresses; behind them being a canvas booth of white and 
crimson stripes. There is a breezy sky ; distance and breadth 
are finely expressed, and, notwithstanding the dulness of 
color, the scene is agreeably animated. 


Signed at the right. ~ 


Owned by the American Art Association. 
Height, 31% inches; length, 3634 inches. 


POURBUS 


(THE YOUNGER) , ayer 


53—Portratt of Jacques dA igremont ¢ Governor 
of Antwerp, 1578) © ./9) 


Be 
. oe By & 
5 ME BoP 


As in the companion portrait of d’Aigremont’s wife, the 
painter has rendered the air of distinction as well as the vital 
characteristics of the sitter, There are a nobleness and 
authority about the canvas, in its arrangement of large 
masses of rich, luminous color, quite in keeping with the 
bearing of the subject. Over his black doublet, elaborately 
quilted, he wears a robe of the same color, its rolled collar 
and lining being of gray silk with a damask pattern in gold. 
A row of gold buttons runs from the right shoulder, and a 
chain of the same metal hangs below the crimped ruff, which 
frames in the strong, clear-toned face with its delicate Van- 
dyke beard. The vivacity of the brush-work is admirable, 
sensitive in parts, and broad in others, and the ensemble is a 
grand canvas in fine condition. . 


Owned by the American Art Association. 
Height, 28 inches ; width, 24 inches. 


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-POURBUS. 3, 


« . (THE YOUNGER) ~ , 


54—Portratt of the Wife of des @ Aigre- 
mont (Born Anne a’ Ursel) é. ) an ir 


} of 

This picture, like the companion one of the lady’s husband, 
; affords a splendid endorsement of this painter’s reputation for 
i giving to his portraits life, spirit, and strong resemblance. 
N The last, one must take on trust; but of the two other quali- 


ties, the evidence is here. There is a living personality in 
the face, and hint of character in the tranquil, kindly expres- 
sion and the latent mirth in the eyes and mouth so noticeably 
responsive to each other. The head is finely set against the 
high collar of lawn edged with point lace, behind which is a 
dull green background with a rose-colored curtain, bearing her 
coat-of-arms quartered with her husband’s, Her costume is 
a black dress with pointed bodice and puffed and padded 
sleeves ; adorned profusely with pearls and jewels. Thecan- | 
vas is ‘rieh 3 in color and “adhe decorative. | 
” Au bch BS Woes ' 


Owned “e4 the Aanetiean t Association. 


~ Height, 28 inches; width, 24 inches. 


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vai j 55— Tbe Deserted House. l, ve. 


f The eye travels across a stretch of grass-land, darkened 

; and cheerless, towards a deserted house, obscurely visible 

Ni against a sky rose-flushed on the horizon, and mounting up 
in clouds that are seamed with rifts, through which the wan- 
ing light penetrates, The feeling of the picture is intense, 
almost to solemnity. | é 


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Signed at the right. 


Owned by Mr. Bonner. 
Height, 9 inches; length, 12 inches. 


56—Dutch Landscape 


A mellow sunlight fills the picture, flooding an open stretch 
of cultivated land and filtering through the foliage of sturdy oak 
trees that stand about a roadway in the foreground. A wagon- 
load of peasants is driving home ; two woodsmen have paused 


in their work, and other figures are following the winding of 


the road, which passes behind the trees into the sunshine. 
Spaciousness and light are well depicted, the trees are drawn 
with much truth as well as conscientious detail, and the general 
feeling of the whole is tranquil and happy. 


NOTE 


This canvas is signed ‘‘ Hobbema.” The owner: wishes it stated that he 
does not consider the picture characteristic of the artist, and that he did ‘not 
buy it under the impression that Hobbema painted it. “However, it is a very 
interesting Dutch landscape, and there is no reason to doubt its age. Few 
modern painters could more effectively, yet without exaggeration, have ren- 
dered the effect of sunlight shining between widely spaced trees. Had truth 
to values been more considered, the foreground and the more distant parts 
would bear a better relation to one another. This picture is to be sold on its 
merits as a canvas, without regard as to who painted it. 


Owned by Mr. Bonner. Aaa 
ee ae Wyte 3. Height, 34 inches; length, 43% inches. 


WYANT 


(A, H.) 


57—The Last Glow 


There is a beautiful feeling in this picture. Wild flowers 
are sprinkled over the moist grass. In the hollow with 
shelving banks, what a sense of hush, of mystery, in the dark 
foliage of the trees that form a screen across the sky! The 
rosy yellow of the horizon fades into pearly gray, with purple 
vaporous clouds—a sky of idealized tenderness. 


° . M ae 
Signed at the right. AK extn, prt 
P Li a : 4 ¥ ; 
Owned by Mr. Bonner. ~ Q 


Height, 16 inches; length, 24 inches. 


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JACQUE 


one 
58—The Pigsty 


Shall one more admire the vigorous truth to life in the pre- 
sentment of these jostling pigs straining towards the trough, 
or the skill which has produced a harmony of color that 
glows like a topaz? The dominant note is golden brown, 
fused with rich dull greens, and relieved by a passage of 
cold blue. What an expression of effort is found in the bodies . 
of these pigs! And how characteristically they are painted ! 


Signed at the left. 


Owned by Mr. Bonner. 
Height, 6 inches; length, 8 inches. 


WYANT 


(A. HL) 


59—Mpystic Rays 


This is a very distinguished littlecanvas. Simple enough in 
matter—twilight settling down on meadowland, and a hut and 
trees nestling against a gray-white sky—it is painted with the 
vigor that expresses intensity of feeling. Particularly notice- 
able is the suggestion of suppressed light that fills the picture, 
haunting the browns and greens of the grass, and stealing all 
through the sky. It represents the poet-painter in a very 
earnest mood. 


Signed at the right. 


Owned by Mr. Bonner. 
- Height, 8% inches; length, 15% inches. 


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MONET te 


(Laure) 6 ¥ 


60—West Front of Rouen Cathedral in a 
Light Fog 


This is one of the famous series in which Monet studied the 
Cathedral at different times of day and in various conditions 
of light and atmosphere. On this occasion it loomed up 
from a light fog. Down near the base of the great facade the 
mist is blue, impenetrable ; out of it gradually emerge tower, 
buttresses, pinnacles, dark arched windows, and gabled end— 
the stupendousness as well as the suggestion of its infinite 
_ detail—catching high up, in parts, the glow of sunshine. One 
has seen the Jungfrau rising out of a wave of cloud, the purity 
of the snowy peak aloof in asky of turquoise and caressed 
with the mystery of light. That was nature idealizing herself. 
Here, it is one art illuminating for a sister art her mighti- 
ness, mystery, and spirituality. Ifyou wish the facts, as such, 
you can buy a photograph. This is much more—the soul of 
the matter, and not without due suggestion of the material 
charm ; only one is made to feel it ratherthan to see it. Nor 
is this all. Besides the poet’s vision, there is the painter's 
profound knowledge of physical phenomena, and also the ex- 
quisite beauty of the canvas in a way merely pictorial. 


Signed at the left, and dated ’94. 
Owned by the American Art Association. 


Height, 39 inches ; width, 26 inches. 


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a : 61—West Front of Rouen Cathedral—Effect 
| of Morning : 


This is still another variation on the theme which Monet 
studied with so much devotion. Nearly all the morning haze 
has been drawn up into a clear, pale sky, only enough remain- 
ing to form a web through which the masses of the architec- 
ture loom with soft distinctness, and much of the detail is 
felt. Down near the ground the veil is denser, the hollows of 
eee Mee se the great arched entrance glowing faintly orange. Higher, 
i) eh the vast pile grows warm in the quickening light; parts, here - 
aie and there, catching its direct glow, while the fretwork of 
masonry at the top shows cool and distinct against the deli- 
cate sky. The sentiment of this picture is akin to that of the 
others in the cathedral series, representing a poet-painter’s 
conception of a masterpiece by artists in another craft. The 
majesty of bulk and proportion, the infinite variety of enrich- 
ment appeal to him, but not alone in their material manifes- 
Re : tation. What he felt far more was the indwelling spirit of. 
| the whole, the inspired suggestion of each and every part, as 
every earnest visitor feels in his dumb way; and it is to this 
that Monet has given expression. 


Signed at the left, and dated ’94. 


Owned by the American Art Association. erat fe 
Height, 39% inches ; width, 25% inches. 


(CLAUDE) * e 3 %¢ 


62—Rouen Cathedral. West Front and 
Tower of Albanc—Morning o 


This is another of the series. The time is early morning } 
on some day when there was no mist, but the clear light still j 
tender, limpid, and caressing. The majesty of the west front \ 
is veiled in shadow, a penetrable blue, through which one AZ 
feels rather than sees the noble mass and the rich imaginings . Ree és 
of the artist’s chisels. Out of the cool depths the mighty /\ © 
tower rises to greet the young light, which kisses its hoary 
face into a bloom of rose and yellow and violet. The play is 
cut short by the gold frame. After all, it is only a picture; but 
the inspiration of the poet’s vision extends beyond—as far, in 
fact, as our imagination is able to receive it. The picture, 
like the rest of the series, is a modern artist’s tribute to 
brethren of another craft long dead and forgotten. Their 
inspiration has descended upon him; he has caught it, and 
flings it upon canvas with a wealth of new interpretation. 


Hip 
ZS 


. Signed at the left, and dated ’9q4. 


Owned by the American Art Association. 
Height, 42 inches ; width, 28 inches. 


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(CLAUDE) 


: a a 
63—An Old Church at Vernon "| 
Heit. AAS BY Sate: ‘ i 
Only that it is not inverted, the ‘Scené ‘for a mohaent seems j 
a mirage. The church, trembling in the dreamy light ; trees, f 
just soft shadows ; the terrace-like ground peering through Leg 
the mist, and the water below a mere suggestion—all faintly f 
loom up above clouds of vapor. But the vapor has too little 
luminosity for sky; it clings to moist, cool earth, moving 
heavily below, growing more and more volatile as it rises, 
and yields to the dispersing warmth. The picture represents 
the mystery of awakening warmth and light, a daily miracle 
unheeded by most of us, but here expressed with extraordi- 
nary subtlety and an intimacy with the marvel that has only 
increased the painter’s reverence for it. 


‘ 
BY 
by 


Signed at the left, and dated 1894. 


Owned by the American Art Association. 
: Height, 26 inches; length, 36 inches. 


be as > 


- MONET : 
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mood is on him, as well as evanescent effects of light and air. 
It was evidently so when he painted this picture. ‘The con- 
trasting masses of white, compact masonry and dark, full tree 
forms interested him ; notably the pompon shape of one tree 
with two attendant tufty bushes. But though realism attracts 
him, he is no mere literalist. He sets himself, while repro- 
ducing these contrasts, to further contrast them with their 
own differentiating values when reflected in water, and gains 
still another touch of contrast by means of a streaky sky of 
rose and creamy gray, and feathery, loose vegetation in the 
foreground. There is thus an interplay of motives, resulting 
in an ensemdle a little fantastical, but as subtle in feeling as 
it is strong. : 
Signed at the left. 


Owned by the American Art Association. 
Height, 24 inches ; length, 32 inches. 


MONET 


(CLAUDE), 


D : ; < Ae 3 
65—La Pluie \ i} yt 


Here is the delicate beauty of an April shower. | The soft 
sunlight is not banished ; only chastened by the moving, in- 
termittent threads of rain, The words run to one’s pen that 
it is light filtering through a gauze. But that will not do. 
Light and rain are interwoven as woof and warp, and the web 
‘5 no mere surface, but penetrable, web behind web indefinitely. 
Through it the young vegetation takes on more purity of color, 
and the glare of white buildings and sandy road becomes 
softened. Smile and tears are intermingled, and the smile 


prevails. Na ie 
; } ay Ye hy 
Signed at the left. at 


Owned by the American Art Association. 
Height, 24 inches ; length, 29 inches. 


7-B 52/65 Ht 16 Kap. 


eat yy; ‘ 


(CLAUDE) x A ni ¥F 


66—The Haystacks, Givern a) 


This is a fine rendering of clear light and fresh air, obtained 
with little sacrifice of the solid characteristics of the scene. 
The latter is a variation upon one of the painter’s favorite 
themes, his neighbor’s haystacks, which he studied from his 
own garden. There is one near the front of the picture on 
the right, two others in receding planes ; the field is yellow, 
freshened with tender green, as hay fields are after the crop 
is gathered. Beyond is a lattice-work of tall trees, with 
feathered stems and bunchy tops quivering in the air, and be- 
hind them a strip of golden corn and swelling woodlands, 
blue with atmosphere. Overhead white clouds dappleaclear 
gray sky, large and luminous. The stimulating freshness of 
the ensemble is enforced by the contrast of rose tones in the 
half-shadows of the-haystacks ; an artifice, beautiful in itself, 
which possibly strains a truth of detail, but secures the larger 
truth of the whole. | f 


Signed at the right, and dated 1884. a ( 4’ 
Owned by the American Art Association. 
Height, 26 inches ; leng : » 32 inches, 


MONET \:° | 
(CLAUDE) %% 4 


> 


67—Meadows, Giverny, F On Ae P 


Storm threatens. The sky Mets over with a compact 
mass of rain-swollen atmosphere, a lurid purple red, against 
which the ground and trees stand out sharp and vivid. The 
yellow haystacks are dulled to brown, but the grass and 
foliage quicken into shrill green and cold blue. The unity 
of effect is complete, its fidelity to nature extraordinary, and 
the force of the whole impression tremendous, 


Signed at the right, and dated ’gI. 
Owned by the American Art Association. 


Height, 26 inches ; length, 36 inches. 


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(CLAUDE) \ o 


68—Folise de Carengeville, Diehpe 


Light, buoyant air, dee ndeur « ie ‘bulk ‘andl strength and 
color; what invigoration this canvas gives! The sky is a 
blue, rinsed clear of haze, and floating on it are shreds of faint 
cloud propelled by the free passage of air. The light plays 
softly over the front of the church, and in and out between the 
cluster of gables nestling beneath the low-pitched spire, It 
is old with pointing the haven to home-coming ships, and 
gray, even fragile, by contrast with the great stretch of the cliff 
and the ruddiness of its eternal youth. There is a dip of 
shadow to the left, and one or two projections catch the full 
sunshine ; for the rest, the sheer wall of rock is bathed in 
warm lesser light, which ripens its variety of tint. At its foot 
slumbers a deep blue shade, parting it from the warm sand. 
In breadth and force, no less than in its discriminating values, 
this picture is superb. 

Signed at the left. 


Owned by the American Art Association. 
Height, 24 inches ; length, 29 inches. 


MONET 71> ae! 


12 ow te 
(CLAUDE) flat 


69—Serie les Peupliers temps Couvert 


What an“arresting’*picture! Its decorative beauty affects 
one first ; that fine swirl of movement in the foliage, the ele- 
gant repetition of theslim tufted stems, the fresh, pure color, 
and the delicious equipoise of full and empty spaces. But it 
is far more than simply ornamental. The knowledge displayed 
in adjusting the diminishing values of the receding trees is 
profound, and the picture sets one’s imagination moving from 
a pensive mood to one of elevation. How far is the imagina- 
tion stimulated by the break in the coil of foliage on the left 


of the picture? Depend upon it, very much. You may call 


it merely an artistic trick, but really it is one of those appeals 
from sense to imagination by which the great artist creates. 
Signed at the right, and dated r8qr. - 
Owned by the American Art Association. 
Sek ae Height, 36 inches; width, 29 inches. 


_ When an artist paints his own home one nay sicaheol a sym- ff 
pathetic picture ; also, perhaps, a very characteristic one. At cA 
any rate, there is no evasion here of the simple facts: the Ff 
long, low white cottage ; outhouse, partly tumbled down ; V 


another cottage ; the steep, bumpy ground, with white flower- 
ing blossoms, and patches of red soil showing between the 
tussocks of grass, and the remnants of a fence. Cazin is so 
far a realist that though he may add poetry it is not at the 
expense of truth. And there is a poetry in this picture. That 
glimpse of sea on the left, cleverly suggested to be far be- 
low, hints at the health and freshness on this bluff of coast. 
The sky is large and luminous, free of clouds, and the 
warmth of its rosy gray penetrates the scene. There is a 
quiet and happy strength in the picture ; spontaneous feeling 
in the broad and vigorous brush-work ; a color scheme more 
generous than usual. Heart and brain and hand have co- 
} operated unreservedly. 


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a9 at the right. . 
Owried by the American Art Association. 
abe ah a Height, 32 inches ; length, 40 inches. 


COROT 
(J. B. C.) 


71—The Sylvan Dell 


A pathway between grassy banks, disappearing through 
trees, with a peep beyond of pale blue sky that deepens over- Sud 
head and is shredded into clouds ; a peasant woman is stoop- V 
ing to pick a flower, and farther back are two other figures 
and a goat. The light is cool and clear, and there is a fresh- 
ness in the gray-green foliage yellowing here and there. The 
tender foliage swaying in the breeze completes — poem of 
landscape painting. 


, Fe AP en ‘ eu? 
Signed at the left. \A Ss “ut ty ee 
fer ; ae: i 
/ 


Owned by Mr, Bonner, ae pe 
“Height, 13 inches; length, 16 inches, 


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a DAUBIGNY 


(C. F.) 


72—Evening on the Seine 


One looks across a stretch of silvery water, shallow at the 
edge. Boats are moored along the opposite bank, which 
mounts steeply on the right to a group of stone cottages with 
red tiled roofs, sheltered by a bunch of trees, alongside which 
two solitary ones stand like sentinels, dark against a sky 
flecked with rose on the horizon, passing to dove hues that 
merge into white above the village, It is a point of land 
shelving to the river, which winds to the left, and is lost to 
view in the distant haze, This picture is invested with a deep 
feeling of tranquillity, and at the same time it isa powerful 
performance and is masterly in certainty of touch. 


Signed at the right, and sien 1874. iy ‘ 
Owned by Mr. Bonner. Aye Ay ve U 


r Height, 13 inches : ; length, 26 inches. 
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| TROYON 
| (CONSTANT) 4 G ee rig 


73—Landscape and Cattle owe bet = 


A most admirable example of Troyon’s tonal power and 
minute knowledge of nature. There is a storm in the dis- 
tance; the scudding of clouds lets the sun shine through in 
fitful gleams. <A shudder of air is coming up from the dis- 
tance; a horse nervously sniffs at it; two of the cows instinc- 
tively turn their backs to it; a third, sheltered by its companion, 
is lying down; while another is still feeding in a hollow, for 
the meadow is a series of knolls and dips. The focal point of 
light in this picture is the white and red cow in the centre, to 
which all the other lights of the picture are rhythmically grad- 
uated in a most skilful arrangement. In this picture we find 
Troyon’s greatest charms—beauty of landscape, the portrayal 
of animal life, and the happy blending of both in a manner 
which has given him the highest rank in pictorial landscape. 
All that may be said in praise of Troyon’s landscapes is re- 
vealed in this canvas, crowned with a most masterly sky. 


Signed at the left, and dated! 857. 


Owned by Mr. Bonner. nei, 
iS, Height, 188 inches ; weds 27% inches. 


: “L fe oe . | INNESS 


“yj (GEORGE) 


74—Spring Blossoms, Montclair, New Jersey 


Unity of feeling and harmony of tone, the more subtle be- 
cause of the scale of color, are the characteristics of this 
picture. The subject is an orchard in blossom under the 
paling light of afternoon. The pale blue of the sky, gathering 
mist on the horizon, and the gray-green grass fill the larger 
spaces of the picture. Near the fronta mass of blossom gleams 
yellow in the sunlight ; far back in the sky the moon is trans- . 
parently white. These are, respectively, the focus and van- 
ishing points in the color scheme. There is a bunch of pale 
yellow blossoms, another of pink; and the same are echoed 
in the fleecy clouds. A row of slender trees, just budding, 
helps the exceeding tenderness of the scene, which is strength- 
ened by the solid mass of the house, by the smooth carpet of 
green, and particularly by the figure in the foreground. The 
ensemble is skilful in treatment and inexpressively sweet in 
feeling. 


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Signed at the left centre, and dated 18894" ia: uf Oe Baw! 


¢ 


Owned by Mr. Bonner. oa tae: 


Height, 30 inches ; length, 45 inches. 


RUYSDAEL oh 


(JACOB) 
75—The Squall IW Soe 


From the private collectio - the late William Schaus. © / ted a 
atahaeactcayeeinassciiny 


What a grand intensity throughout this picture! In the 
luminosity of the sky, suppressed yet felt ; in the color tones 
for all their sullenness, and in the force of wind and water. 
Out of a dark bank of clouds, low down in the sky, which 
shows blue and lighter through gaps in the scudding clouds, 
a smart breeze is racing behind the incoming tide. The gray, 
curdled water, almost black in the hollows of the waves, 
breaks back from a little wooden jetty in shreds of white spray. 
In the gloomy offing looms a ship at anchor, the red bar of 
her Dutch ensign lending the one warm note to the picture. 
Smacks at various distances are heeling over in the wind ; 
a few figures are gathered on the jetty, and behind it appear 
the masts and sails of a vessel. Grander even than the fidelity 
and vigor with which the physical phenomena are rendered, 
is the unexpressed force of power, which one is made to feel. 
It is a noble picture. . 


Signed at the right. the a 
Owned by the American Art Association. Y at 
oe: 


Height, 33 inches; length, 29% inches¢, 4 


LAWRENCE Wh" 


(SIR THOMAS) 


78—Portratt of the Countess of Wilton 


en eee is an air of authority and conscious worth in the 
pose of this seated lady, quite in keeping with her ample pro- 
portions and the simple richness of her costume. She wears 
a black velvet dress of Empire design ; the shoulders covered 
with white lace and her head with a close-fitting cap of the 
same material, The sleeves are short, terminating in black 
lace, looped up with a jewel; a fawn-colored glove reaches 
nearly to her right ‘elbow, which rests on the arm of a red- 
upholstered chair, and her left hand raises lightly the gray 
-boa which hangs from her shoulders. At the back is a ground 
of brownish green and a dark red curtain. The various tex- 
tures are well rendered; the face is firmly modelled, with much 
suggestion of character, and the flesh hues, notwithstanding a 
blackness in the shadows, are fresh and clear and Lobupoipig in 
vigorously. 


Owned by the American Art Association. 
Height, 4434 inches ; width, 34% inches. 


Sat ie 


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PBR Re aes 


DIAZ 
(N. V.) 
Ma 


Fpraggedis 
(FS 


This splendid campy ‘ts Diaz in his grand mood will be 
remembered as belonging to the late Charles A. Dana, rank- 
ing with those other masterpieces in his collection: “ Danse 
des Amours” and ‘‘ Paturage des Dindes.” The pool, which 
gives its name to the picture, reflects in fainter hues the 
brilliant blue of the sky and the warm white of the flocking 
clouds. Below them the horizon is a dark slate, ripped by a 
glare of white, against which the distant stretch of land shows 
a cold purple. In this part there is threat of storm; but,- 
higher up, the sky is luminous with light, which flows through 
the oak glade in amber waves, lapping the sward and fern 
and masses of foliage, stealing in and out between the trees, 
breaking upon stems and branches in flecks of brilliance, and 
bathing the shadowed parts with warmth. The wild luxuri- 
ance of growth is depicted with a master hand ; the tangle of 
the forest is suggested, yet each of the foremost trees has its 
own individuality. The strength and lavishness of the artist’s 
imagination ; his color power, all the more wonderful here for ' 
its magnificent control; his mingling of breadth and style and 
profound ee ae nature, are all revealed in this 


superb canvas. ny f Y ZA Awe 
ri Fr : * tae hin, 


Signed at the oe nea dated 1876, 4 vA 
a of tom 


Owned by the American Art Association’ 


Height, 31% inches; length, 41% inches. 9 


RAEBURN. | : 
(SIR HENRY) a “Ry 


78—Portrait of Mrs. Carlisle i. A 
This is a particularly fine example of the Edinburgh mas- 
ter. The gentle breeding, quiet force of character, and reli- 
gious habit of life are expressed with remarkable suggestive- 
ness. The lady is seated sideways on an oak chair with red 
leather back. She leans back slightly, with the head brought 
forward in a very gracious pose, her hands laid quietly one 


over the other upon her lap. She wears a black velvet robe, . 


which clings to her form and is cut square upon the shoulders 
and straight across the bosom, the edges being softened with 
a filling of lawn. From her neck hangs a slender gold chain 
terminating in across. The dark hair is gathered into a knot 
at the back and bound) by a snood of delicate lace, which is 
fastened at the throat by a little coral clasp. All these details 
are admirably painted, and the flesh tints are pure. In her 
features the lady is scarcely beautiful ; but the eloquent poise 
of the head and its dainty snood, the graceful sweeping line 
of the arms and figure, thé sweet benignity of character which 
all these indicate, as well as the sincere affection with which 
the painter has handled his subject, make it a beautiful 
canvas. 


Owned by the American Art Association. 


Height, 36 inches; width, 28 inches. 


~s } RAEBURN 


ANY A (SIR HENRY) 


79—Portrait of Mr. C arlisle 


This is the simple, straightforward presentment of a country 
gentleman. The ruddy face bespeaks an open-air life; the 
firm frame, so well expressed beneath the double-breasted 
coat, and the quiet, easy posture, suggesting a healthy, well- 
balanced nature. All this is admirably expressed in the 
strong drawing and spontaneous freedom of the brush-work. 
The gentleman is seated sideways, turning round almost 
full face. He wears a blue coat with brass buttons, white 
collar, and stock tied in a bow; a peep of gray waistcoat 
shows below 'the coat, and a scarlet fob hangs from the 
pocket of his drab breeches. The black hair is brushed 
forward to the forehead in the manner of the period. 


Owned by the American Art Association. 


Height, 36 inches; width, 28 inches. 


» & gor 
i) aes J Geo 
MO ee 4 COELLO 
/ (ALONSO SANCHEZ) 


80—Portrait of the Wife of Admiral De Cordes. 


The textures of this sumptuous costume are excellently 
rendered. It represents the mode at the end of the sixteenth 
century, with its extravagantly ballooned skirt, stiff bodice, 
and padded sleeves, slashed and puffed. The exquisite ma- 
terial of the skirt is gray and gold silk damask, with inser- 
tions of rose satin, while the bodice and under-skirt are made 
of silk, woven in stripes of rose, gray, and gold. Thecuffs are 
of quilted lawn, with lace edgings, the same being used smooth 
in the collar and ruff. The face is modelled with gray shadows 
over white flesh, heightened on the cheeks and lips with carmine, 
and the light brown hair, crinkled softly round the forehead, 
is clasped by a gold and scarlet band, decorated with a bunch 
of roses and green leaves. 


Owned by the American Art Association. 


Height, 33 inches ; width, 28 inches. 


MIGNARD ‘. 


81—Catherine of Portugal 


‘Daughter of King John IV. of Portugal, surnamed The 
Fortunate, and of Francoise de Guzman, Catherine was. born 
in 1638, At twenty-three she was.a princess of rare accom- 
plishments, amiable disposition, and one of the richest matches 
in Europe. It is to be feared that it was the last considera- 
tion which appealed to Charles II. of England, who sought and 
obtained her hand, for it is matter of history that her attrac- 
tions were unable to retain his volatile heart. After her hus- 
band’s death she continued to reside in England until 1693, 
when she returned to Portugal to be near her brother, Peter 
II., and to assist him with her counsels, She died in 1705. 

In this portrait, the lady is represented standing by a small 
table, on which she rests a hand with a rose between the 
fingers. Her dress is of rose-colored silk, with a broad panel 
of lace extending down the front, a pointed bodice cut 
straight across the bosom, and a muslin guimpe gathered by 
a thread, which leaves the neck free. Elaborate ornaments 
of jet and pearl enrich the costume, encircle her wrists, and 
gleam amid her glossy black ringlets. The face looks out 
from the dark background with a very quiet and gracious 
expression, and notwithstanding the profusion of detail the 
portrait is simple and unaffected. 


Owned by the American Art Association. 


Height, 53 inches ; width, 38 inches. 


FSi 
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LAWRENCE 


(SIR THOMAS) 


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82—Charity (The Misses Newdigate of Surrey) 


In response to the taste of his times, the painter has mingled 
a sentimental episode with the portrait of these young girls. 
They are standing, each with an arm round the other’s figure, 
their simple white frocks showing softly against a warm brown 
wall. A spray of roses appears around the angle of the ma- 
sonry, and beyond are a pasture and deep blue sky. A little 
boy in a ragged red coat, barefooted, looks up to the ladies 
with an expression of mute entreaty ; and while one of them 
with a gesture invites her sister’s sympathy, the latter extends 
acoin. The composition and lighting are so arranged as to 
make the two girls the absorbing interest of the picture; the 
added episode being skilfully used to lend a little: more move- 
ment to their figures, and, doubtless, a greater suggestion of 
their lovable dispositions. The little affectedness of pose is 
quite characteristic of the studied manners of the period, and 
the freshness and purity of gentle life in the country has been 
most charmingly expressed. The picture was shown at the 
Exhibition of Fair Women held in London in 1894. 


Owned by the American Art Association. 


Height, 83 inches; width, 57 inches. 


AMERICAN ART ASSOCIATION, 


MANAGERS, 
THOS. EE.” KIRBY, 


AUCTIONEER. 


ar 


ARTISTS REPRESENTED 


‘ 


BARBUDA, V., CC OnbEaS 


Romance and Art 


BESNARD, P. A., 


The Smile 
Meditation 
Sunshine 

The Waning Year 


BOL, F., 
The Burgomaster 


CAZIN, JEAN C., 
The Monastery 
“Moon Silvery Light” 
The Ruins 
Clouds in the Valley 
Low Tide 
Crépuscle 
The Home of the Artist 


COELLO, Atonso SancHEz, 
Portrait of the Wife of Admiral De Cordes 


COROT, J.B. C., 
The Road to the Village 
The Mill 
The Sylvan Dell 


DAUBIGNY, C. F., 
The Towpath 
Twilight 
The Cliff at Villerville 
Evening on the Seine 


7 


14 
26 
36 
50 


33 


80 


30 
45 
71 


29 
39 
AI 
72 


DE BLOOT, Pieter, CATALOGUE 


NUMBERS 


The Toast 
A Game of Cards 


DEMONT, ADRIEN, 


Coastguard Station. Early Morning—Setting 


Moon 


DIAZ, N. V., 
Turkish Landscape 
La Mare aux Grenouilles 


DUPRE, VICTOR, 
Summer Afternoon 
The Pool 
Summer 


FROMENTIN, EvuceEne, 
In Algiers 


GAINSBOROUGH, Tuomas, | 
Portrait of David Garrick 


(?) 
Dutch Landscape 


HOGUET, C., 
Landscape 


INNESS, GEoRGE, 
Leeds, New York 
Off Penzance, Cornwall, England 
Spring Blossoms, Montclair, New Jersey 


JACQUE, C. E., 
Flower Piece 
The Farm 
The Pigsty 


LAWRENCE, Sir Tuomas, 
Portrait of the Countess of Wilton 
Charity (The Misses Newdigate of Surrey) 


MARIS, WILLEM, 
The Duck Pond 


4 
5 


40 
34 


56 


MAUVE, ANTON, 
The Close of Day 
Return of the Flock 


MICHEL, GEoRGEs, 
Near Montmartre 


MIGNARD, PIERRE, 
Catherine of Portugal 


MONET, CLaupe, 


CATALOGUE 
NUMBERS 


48 
49 


23 


West Front of Rouen Cathedral in a Light Fog 60 
West Front of Rouen Cathedral—Effect of 


Morning 


Rouen Cathedral, West Front and Tower of 


Alhanc—Morning 
An Old Church at Vernon 
Argenteuil 
La Pluie 
The Haystacks, Giverny 
Meadows, Giverny 
Eglise de Varengeville, Dieppe 
Serie les Peupliers temps Couvert 


POKITONOW, Ivan, 
An Early Shoot 
Landscape 


POURBUS, THE YouNGER, 


Portrait of Jacques d’Aigremont Lectemot 


of Antwerp, 1578) 


Portrait of the Wife of Jacques d’Aigremont 


(Born Anne d’Ursel) 


RAEBURN, Sir Henry, 
Portrait of Mrs. Carlisle 
Poitrait of Mr. Carlisle 


RAFFAELLI, Jean Francois, 
Market Day 
Old Sailor at Home 
Holidays at Grandpa’s 
Your Very Good Health ! 
La Place St. Sulpice 
Street at Neuilly 
Nourries, Place de la Concorde 


. 


Ai on - 
o aie a > 
1) he ? RANGER, H. W., 
: e if re . Landscape 
) we }RUYSDAEL, Jacos, 
The Squall 


;” Bucs 


- 163 23 
Pree ge /THAULOW, Fru, 


The Lane at Night 
Winter 


roe CONSTANT, 
Landscape and Cattle 


tc PoNKwown, 
Interior of a Stable 


VOLLON, ANTOoINE, 
Landscape 


WYANT, A. H., 
Early Spring 
White Birches in the Adirondacks 
The Deserted House 
The Last Glow 
Mystic Rays 


ZAMACOIS, E., 
The Spanish Troubador 


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CATALOGUE 
NUMBERS 


21 


75 


22 
44 


73 


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